Friday, April 12, 2019

A short note on University Wits


University Wits were a group of late 16th century English playwrights who were educated at the universities (Oxford or Cambridge). The name "University Wits" given by Saintsbury to a group of Elizabethan playwrights and pamphleteers. Prominent members of this group: Christopher Marlowe, Robert Greene, and Thomas Nashe from Cambridge, and John Lyly, Thomas Lodge, George Peele from Oxford. The literary elite of the time - they often ridiculed other playwrights such as Thomas Kyd and Shakespeare who did not have a university education. Some scholars think that Marlowe would have surpassed Shakespeare as an author if ha had not been killed in a tavern brawl. University Wits did make a significant contribution to Elizabethan literature in various genres

Christopher Marlowe (1564-1593)

Christopher Marlowe is perhaps the greatest among the University Wits. Even, he is the only dramatist who is compared with Shakespeare in that time though he lacks the warm humanity of Shakespearean plays. Marlowe represents the tragic tendency in literature. He has no interest in comedy. Again, as a dramatist, he has some serious limitations, specially, in plot constraction. His art of characterization is simple. His plays are one man show- they centre around one figure. Though he has some lackings, he is remarkable for being lyrical and romantic in his dramatic presentation of life. All his plays are poetic and artistic. The Jew of Malta and Dr. Faustus are two of his best works. These two plays clearly show Marlowe's love for conventional Machiavellian hero.

Thomas Kyd (1558-1594)

Thomas Kyd is one of the most important of the university wits. With him began the tradition of the revenge play. Many features of which are to be seen in Shakespeare’s play Hamlet and in the work of later Elizabethan dramatists like Webster and others. Almost all Shakespearean plays show a strong Senecan influence which was dominant in Elizabethan drama. The rise of English drama apparently shows the influence of classical dramatist Seneca. Of the surviving plays of Kyd The Spanish Tragedy is most important. Its horrific plot, murder, madness, death gave the play a great and lasting popularity. There is a sense of tragedy about the play. He seems to foreshadow the great tragical lines of Shakespeare.

Thomas Lodge (1558-1625)

Thomas Lodge is a lawyer by profession but he has given up his legal studied and has taken literary career. He has written only few dramas. 'Rosalynde' is the most famous of his romantic comedies. It is said that Shakespeare has taken the plot of his 'As You Like It' from Lodge's Rosalynde.

Thomas Nash (1567-1601)

Thomas Nash is a professional journalist. He took an active part in the political and personal question of the day. His writings were satirical. His ‘Unfortunate Traveller‘ or’ The Life of Jacke Wilton’ is a prose tale which is important in the development of English novel.

Robert Greene (1560-1592)

Robert Greene wrote much and recklessly. His plays made a considerable contribution to the development of English drama. His sense of wit, humour and imaginative vision revealed his dramatic Potentiality. His plays number four: Alehouses, King of Aragon, Friar Bacon & Friar Bangay. Greene is weak in creating character. His style is not one of outstanding merit but his humour is genial. His method is less strict than those of other tragedians.

George Peele (1556-1596)

George Peele became a literary hack and freelance. The famous chronicle of king ‘Edward the 1, The Old Wives Tale, The Love of King David and Fair Bethsabe etc. are his great plays. His plays have romantic, satirical and historical evidence. His style is violent to the point of absurdity. He has his moments of real poetry. He handled Blank-verse with more ease and variety that was common at that time. He was fluent and had a sense of humour and pathos. In short he represents a great advance upon the earliest drama and became Popular among the play wrights of his time for the poetical qualities of his verse.

John Lyly (1553-1606)

John lyly is another great dramatist who has a strong interest towards the romantic comedy. His comedies are marked by elaborate dialogue, jests and retorts. However, we can find his influence in Shakespearean comedies. Midas is one of the most important work of John Lyly which has shaken the development of the romantic comedy in English literature.

Further Reading: http://internetshakespeare.uvic.ca/m/lifetimes/drama/contemporaries/greene.html

Monday, February 4, 2019

How To Write a Literature Review.




A literature review is both a summary and explanation of the complete and current state of knowledge on a limited topic as found in academic books and journal articles. There are two kinds of literature reviews you might write at university: one that students are asked to write as a stand-alone assignment in a course, often as part of their training in the research processes in their field, and the other that is written as part of an introduction to, or preparation for, a longer work, usually a thesis or research report. The focus and perspective of your review and the kind of hypothesis or thesis argument you make will be determined by what kind of review you are writing. One way to understand the differences between these two types is to read published literature reviews or the first chapters of theses and dissertations in your own subject area. Analyse the structure of their arguments and note the way they address the issues.


Purpose of the Literature Review: 

It gives readers easy access to research on a particular topic by selecting high quality articles or studies that are relevant, meaningful, important and valid and summarizing them into one complete report. It provides an excellent starting point for researchers beginning to do research in a new area by forcing them to summarize, evaluate, and compare original research in that specific area. It ensures that researchers do not duplicate work that has already been done It can provide clues as to where future research is heading or recommend areas on which to focus. It highlights key findings. It identifies inconsistencies, gaps and contradictions in the literature. It provides a constructive analysis of the methodologies and approaches of other researchers.



Content of the Review: 

Introduction: 


The introduction explains the focus and establishes the importance of the subject. It discusses what kind of work has been done on the topic and identifies any controversies within the field or any recent research which has raised questions about earlier assumptions. It may provide background or history. It concludes with a purpose or thesis statement. In a stand-alone literature review, this statement will sum up and evaluate the state of the art in this field of research; in a review that is an introduction or preparatory to a thesis or research report, it will suggest how the review findings will lead to the research the writer proposes to undertake.

Body:  
Often divided by headings/subheadings, the body summarizes and evaluates the current state of knowledge in the field. It notes major themes or topics, the most important trends, and any findings about which researchers agree or disagree. If the review is preliminary to your own thesis or research project, its purpose is to make an argument that will justify your proposed research. Therefore, it will discuss only that research which leads directly to your own project.


Conclusion: 
The conclusion summarizes all the evidence presented and shows its significance. If the review is an introduction to your own research, it highlights gaps and indicates how previous research leads to your own research project and chosen methodology. If the review is a stand-alone assignment for a course, it should suggest any practical applications of the research as well as the implications and possibilities for future research.

Nine Steps To Writing A Literature Review: 

1. Find a Working Topic: 
Look at your specific area of study. Think about what interests you, and what is fertile ground for study. Talk to your professor, brainstorm, and read lecture notes and recent issues of periodicals in the field.

2. Review the Literature
Using keywords, search a computer database. It is best to use at least two databases relevant to your discipline
Remember that the reference lists of recent articles and reviews can lead to valuable papers. Make certain that you also include any studies contrary to your point of view. 

3. Focus Your Topic Narrowly and Select Papers Accordingly
Consider the following:

What interests you?
What interests others?
What time span of research will you consider?
Choose an area of research that is due for a review.

4. Read the Selected Articles Thoroughly and Evaluate Them
What assumptions do most/some researchers seem to be making?
What methodologies do they use? what testing procedures, subjects, material tested?
Evaluate and synthesize the research findings and conclusions drawn
Note experts in the field: names/labs that are frequently referenced
Note conflicting theories, results, methodologies
Watch for popularity of theories and how this has/has not changed over time. 


5. Organize the Selected Papers By Looking For Patterns and By Developing Subtopics
Note things such as:

Findings that are common/contested
Two or three important trends in the research
The most influential theories

6. Develop a Working Thesis
Write a one or two sentence statement summarizing the conclusion you have reached about the major trends and developments you see in the research that has been done on your subject.

7. Organize Your Own Paper Based on the Findings From Steps 4 & 5
Develop headings/subheadings. If your literature review is extensive, find a large table surface, and on it place post-it notes or filing cards to organize all your findings into categories. Move them around if you decide that (a) they fit better under different headings, or (b) you need to establish new topic headings.

8. Write the Body of the Paper
Follow the plan you have developed above, making certain that each section links logically to the one before and after, and that you have divided your sections by themes or subtopics, not by reporting the work of individual theorists or researchers.

9. Look At What You Have Written; Focus On Analysis, Not Description
Look at the topic sentences of each paragraph. If you were to read only these sentences, would you find that your paper presented a clear position, logically developed, from beginning to end? If, for example, you find that each paragraph begins with a researcher's name, it might indicate that, instead of evaluating and comparing the research literature from an analytical point of view, you have simply described what research has been done. This is one of the most common problems with student literature reviews. So if your paper still does not appear to be defined by a central, guiding concept, or if it does not critically analyse the literature selected, then you should make a new outline based on what you have said in each section and paragraph of the paper, and decide whether you need to add information, to delete off-topic information, or to restructure the paper entirely.


For example, look at the following two passages and note that Student A is merely describing the literature and Student B takes a more analytical and evaluative approach, by comparing and contrasting. You can also see that this evaluative approach is well signalled by linguistic markers indicating logical connections (words such as "however," "moreover") and phrases such as "substantiates the claim that," which indicate supporting evidence and Student B's ability to synthesize knowledge.

Finishing Touches: Revising and Editing Your Work



Read your work out loud. That way you will be better able to identify where you need punctuation marks to signal pauses or divisions within sentences, where you have made grammatical errors, or where your sentences are unclear

Since the purpose of a literature review is to demonstrate that the writer is familiar with the important professional literature on the chosen subject, check to make certain that you have covered all of the important, up-to-date, and pertinent texts. In the sciences and some of the social sciences it is important that your literature be quite recent; this is not so important in the humanities

Make certain that all of the citations and references are correct and that you are referencing in the appropriate style for your discipline. If you are uncertain which style to use, ask your professor

Check to make sure that you have not plagiarized either by failing to cite a source of information, or by using words quoted directly from a source. (Usually if you take three or more words directly from another source, you should put those words within quotation marks, and cite the page).

Text should be written in a clear and concise academic style; it should not be descriptive in nature or use the language of everyday speech

There should be no grammatical or spelling errors

Sentences should flow smoothly and logically

In a paper in the sciences, or in some of the social sciences, the use of subheadings to organize the review is recommended.

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Wednesday, January 16, 2019

Mahatma Gandhi, the missing laureate


Mohandas Gandhi (1869-1948) has become the strongest symbol of non-violence in the 20th century. It is widely held – in retrospect – that the Indian national leader should have been the very man to be selected for the Nobel Peace Prize. He was nominated several times, but was never awarded the prize. Why?

These questions have been asked frequently: Was the horizon of the Norwegian Nobel Committee too narrow? Were the committee members unable to appreciate the struggle for freedom among non-European peoples?” Or were the Norwegian committee members perhaps afraid to make a prize award which might be detrimental to the relationship between their own country and Great Britain?

When still alive, Mohandas Gandhi had many admirers, both in India and abroad. But his martyrdom in 1948 made him an even greater symbol of peace. Twenty-one years later, he was commemorated on this double-sized United Kingdom postage stamp. Copyright © Scanpix

Gandhi was nominated in 1937, 1938, 1939, 1947 and, finally, a few days before he was murdered in January 1948. The omission has been publicly regretted by later members of the Nobel Committee; when the Dalai Lama was awarded the Peace Prize in 1989, the chairman of the committee said that this was “in part a tribute to the memory of Mahatma Gandhi”. However, the committee has never commented on the speculations as to why Gandhi was not awarded the prize, and until recently the sources which might shed some light on the matter were unavailable.


Mahatma Gandhi ―who was he? 

Mohandas Karamchand – known as Mahatma or “Great-Souled” – Gandhi was born in Porbandar, the capital of a small principality in what is today the state of Gujarat in Western India, where his father was prime minister. His mother was a profoundly religious Hindu. She and the rest of the Gandhi family belonged to a branch of Hinduism in which non-violence and tolerance between religious groups were considered very important. His family background has later been seen as a very important explanation of why Mohandas Gandhi was able to achieve the position he held in Indian society. In the second half of the 1880s, Mohandas went to London where he studied law. After having finished his studies, he first went back to India to work as a barrister, and then, in 1893, to Natal in South Africa, where he was employed by an Indian trading company.

In South Africa Gandhi worked to improve living conditions for the Indian minority. This work, which was especially directed against increasingly racist legislation, made him develop a strong Indian and religious commitment, and a will to self-sacrifice. With a great deal of success he introduced a method of non-violence in the Indian struggle for basic human rights. The method, satyagraha – “truth force” – was highly idealistic; without rejecting the rule of law as a principle, the Indians should break those laws which were unreasonable or suppressive. Each individual would have to accept punishment for having violated the law. However, he should, calmly, yet with determination, reject the legitimacy of the law in question. This would, hopefully, make the adversaries – first the South African authorities, later the British in India – recognise the unlawfulness of their legislation.



When Gandhi came back to India in 1915, news of his achievements in South Africa had already spread to his home country. In only a few years, during the First World War, he became a leading figure in the Indian National Congress. Through the interwar period he initiated a series of non-violent campaigns against the British authorities. At the same time he made strong efforts to unite the Indian Hindus, Muslims and Christians, and struggled for the emancipation of the ‘untouchables’ in Hindu society. While many of his fellow Indian nationalists preferred the use of non-violent methods against the British primarily for tactical reasons, Gandhi’s non-violence was a matter of principle. His firmness on that point made people respect him regardless of their attitude towards Indian nationalism or religion. Even the British judges who sentenced him to imprisonment recognised Gandhi as an exceptional personality.

First nomination for the Nobel Peace Prize

Among those who strongly admired Gandhi were the members of a network of pro-Gandhi “Friends of India” associations which had been established in Europe and the USA in the early 1930s. The Friends of India represented different lines of thought. The religious among them admired Gandhi for his piety. Others, anti-militarists and political radicals, were sympathetic to his philosophy of non-violence and supported him as an opponent of imperialism.

In 1937 a member of the Norwegian Storting (Parliament), Ole Colbjørnsen (Labour Party), nominated Gandhi for that year’s Nobel Peace Prize, and he was duly selected as one of thirteen candidates on the Norwegian Nobel Committee’s short list. Colbjørnsen did not himself write the motivation for Gandhi’s nomination; it was written by leading women of the Norwegian branch of “Friends of India”, and its wording was of course as positive as could be expected.

The committee’s adviser, professor Jacob Worm-Müller, who wrote a report on Gandhi, was much more critical. On the one hand, he fully understood the general admiration for Gandhi as a person: “He is, undoubtedly, a good, noble and ascetic person – a prominent man who is deservedly honoured and loved by the masses of India.” On the other hand, when considering Gandhi as a political leader, the Norwegian professor’s description was less favourable. There are, he wrote, “sharp turns in his policies, which can hardly be satisfactorily explained by his followers. (…) He is a freedom fighter and a dictator, an idealist and a nationalist. He is frequently a Christ, but then, suddenly, an ordinary politician.”

Gandhi had many critics in the international peace movement. The Nobel Committee adviser referred to these critics in maintaining that he was not consistently pacifist, that he should have known that some of his non-violent campaigns towards the British would degenerate into violence and terror. This was something that had happened during the first Non-Cooperation Campaign in 1920-1921, e.g. when a crowd in Chauri Chaura, the United Provinces, attacked a police station, killed many of the policemen and then set fire to the police station.

A frequent criticism from non-Indians was also that Gandhi was too much of an Indian nationalist. In his report, Professor Worm-Müller expressed his own doubts as to whether Gandhi’s ideals were meant to be universal or primarily Indian: “One might say that it is significant that his well-known struggle in South Africa was on behalf of the Indians only, and not of the blacks whose living conditions were even worse.”

The name of the 1937 Nobel Peace Prize Laureate was to be Lord Cecil of Chelwood. We do not know whether the Norwegian Nobel Committee seriously considered awarding the Peace Prize to Gandhi that year, but it seems rather unlikely. Ole Colbjørnsen renominated him both in 1938 and in 1939, but ten years were to pass before Gandhi made the committee’s short list again.

1947: victory and defeat

In 1947 the nominations of Gandhi came by telegram from India, via the Norwegian Foreign Office. The nominators were B.G. Kher, Prime Minister of Bombay, Govindh Bhallabh Panth, Premier of United Provinces, and Mavalankar, the President of the Indian Legislative Assembly. Their arguments in support of his candidacy were written in telegram style, like the one from Govind Bhallabh Panth: “Recommend for this year Nobel Prize Mahatma Gandhi architect of the Indian nation the greatest living exponent of the moral order and the most effective champion of world peace today.” There were to be six names on the Nobel Committee’s short list, Mohandas Gandhi was one of them.

The Nobel Committee’s adviser, the historian Jens Arup Seip, wrote a new report which is primarily an account of Gandhi’s role in Indian political history after 1937. “The following ten years,” Seip wrote, “from 1937 up to 1947, led to the event which for Gandhi and his movement was at the same time the greatest victory and the worst defeat – India’s independence and India’s partition.” The report describes how Gandhi acted in the three different, but mutually related conflicts which the Indian National Congress had to handle in the last decade before independence: the struggle between the Indians and the British; the question of India’s participation in the Second World War; and, finally, the conflict between Hindu and Muslim communities. In all these matters, Gandhi had consistently followed his own principles of non-violence.

The Seip report was not critical towards Gandhi in the same way as the report written by Worm-Müller ten years earlier. It was rather favourable, yet not explicitly supportive. Seip also wrote briefly on the ongoing separation of India and the new Muslim state, Pakistan, and concluded – rather prematurely it would seem today: “It is generally considered, as expressed for example in The Times of 15 August 1947, that if ‘the gigantic surgical operation’ constituted by the partition of India, has not led to bloodshed of much larger dimensions, Gandhi’s teachings, the efforts of his followers and his own presence, should get a substantial part of the credit.”
Having read the report, the members of the Norwegian Nobel Committee must have felt rather updated on the last phase of the Indian struggle for independence. However, the Nobel Peace Prize had never been awarded for that sort of struggle. The committee members also had to consider the following issues: Should Gandhi be selected for being a symbol of non-violence, and what political effects could be expected if the Peace Prize was awarded to the most prominent Indian leader – relations between India and Pakistan were far from developing peacefully during the autumn of 1947?

From the diary of committee chairman Gunnar Jahn, we now know that when the members were to make their decision on October 30, 1947, two acting committee members, the Christian conservative Herman Smitt Ingebretsen and the Christian liberal Christian Oftedal spoke in favour of Gandhi. One year earlier, they had strongly favoured John Mott, the YMCA leader. It seems that they generally preferred candidates who could serve as moral and religious symbols in a world threatened by social and ideological conflicts. However, in 1947 they were not able to convince the three other members. The Labour politician Martin Tranmæl was very reluctant to award the Prize to Gandhi in the midst of the Indian-Pakistani conflict, and former Foreign Minister Birger Braadland agreed with Tranmæl. Gandhi was, they thought, too strongly committed to one of the belligerents. In addition both Tranmæl and Jahn had learnt that, one month earlier, at a prayer-meeting, Gandhi had made a statement which indicated that he had given up his consistent rejection of war. Based on a telegram from Reuters, The Times, on September 27, 1947, under the headline “Mr. Gandhi on ‘war’ with Pakistan” reported:

“Mr. Gandhi told his prayer meeting to-night that, though he had always opposed all warfare, if there was no other way of securing justice from Pakistan and if Pakistan persistently refused to see its proved error and continued to minimise it, the Indian Union Government would have to go to war against it. No one wanted war, but he could never advise anyone to put up with injustice. If all Hindus were annihilated for a just cause he would not mind. If there was war, the Hindus in Pakistan could not be fifth columnists. If their loyalty lay not with Pakistan they should leave it. Similarly Muslims whose loyalty was with Pakistan should not stay in the Indian Union.”

Gandhi had immediately stated that the report was correct, but incomplete. At the meeting he had added that he himself had not changed his mind and that “he had no place in a new order where they wanted an army, a navy, an air force and what not”.

Both Jahn and Tranmæl knew that the first report had not been complete, but they had become very doubtful. Jahn in his diary quoted himself as saying: “While it is true that he (Gandhi) is the greatest personality among the nominees – plenty of good things could be said about him – we should remember that he is not only an apostle for peace; he is first and foremost a patriot. (…) Moreover, we have to bear in mind that Gandhi is not naive. He is an excellent jurist and a lawyer.” It seems that the Committee Chairman suspected Gandhi’s statement one month earlier to be a deliberate step to deter Pakistani aggression. Three of five members thus being against awarding the 1947 Prize to Gandhi, the Committee unanimously decided to award it to the Quakers.


1948: a posthumous award considered

Mahatma Gandhi was assassinated on 30 January 1948, two days before the closing date for that year’s Nobel Peace Prize nominations. The Committee received six letters of nomination naming Gandhi; among the nominators were the Quakers and Emily Greene Balch, former Laureates. For the third time Gandhi came on the Committee’s short list – this time the list only included three names – and Committee adviser Seip wrote a report on Gandhi’s activities during the last five months of his life. He concluded that Gandhi, through his course of life, had put his profound mark on an ethical and political attitude which would prevail as a norm for a large number of people both inside and outside India: “In this respect Gandhi can only be compared to the founders of religions.”

Nobody had ever been awarded the Nobel Peace Prize posthumously. But according to the statutes of the Nobel Foundation in force at that time, the Nobel Prizes could, under certain circumstances, be awarded posthumously. Thus it was possible to give Gandhi the prize. However, Gandhi did not belong to an organisation, he left no property behind and no will; who should receive the Prize money? The Director of the Norwegian Nobel Institute, August Schou, asked another of the Committee’s advisers, lawyer Ole Torleif Røed, to consider the practical consequences if the Committee were to award the Prize posthumously. Røed suggested a number of possible solutions for general application. Subsequently, he asked the Swedish prize-awarding institutions for their opinion. The answers were negative; posthumous awards, they thought, should not take place unless the laureate died after the Committee’s decision had been made.

On November 18, 1948, the Norwegian Nobel Committee decided to make no award that year on the grounds that “there was no suitable living candidate”. Chairman Gunnar Jahn wrote in his diary: “To me it seems beyond doubt that a posthumous award would be contrary to the intentions of the testator.” According to the chairman, three of his colleagues agreed in the end, only Mr. Oftedal was in favour of a posthumous award to Gandhi.

Later, there have been speculations that the committee members could have had another deceased peace worker than Gandhi in mind when they declared that there was “no suitable living candidate”, namely the Swedish UN envoy to Palestine, Count Bernadotte, who was murdered in September 1948. Today, this can be ruled out; Bernadotte had not been nominated in 1948. Thus it seems reasonable to assume that Gandhi would have been invited to Oslo to receive the Nobel Peace Prize had he been alive one more year.

Why was Gandhi never awarded the Nobel Peace Prize?

Up to 1960, the Nobel Peace Prize was awarded almost exclusively to Europeans and Americans. In retrospect, the horizon of the Norwegian Nobel Committee may seem too narrow. Gandhi was very different from earlier Laureates. He was no real politician or proponent of international law, not primarily a humanitarian relief worker and not an organiser of international peace congresses. He would have belonged to a new breed of Laureates.

There is no hint in the archives that the Norwegian Nobel Committee ever took into consideration the possibility of an adverse British reaction to an award to Gandhi. Thus it seems that the hypothesis that the Committee’s omission of Gandhi was due to its members’ not wanting to provoke British authorities, may be rejected.

In 1947 the conflict between India and Pakistan and Gandhi’s prayer-meeting statement, which made people wonder whether he was about to abandon his consistent pacifism, seem to have been the primary reasons why he was not selected by the committee’s majority. Unlike the situation today, there was no tradition for the Norwegian Nobel Committee to try to use the Peace Prize as a stimulus for peaceful settlement of regional conflicts.

During the last months of his life, Gandhi worked hard to end the violence between Hindus and Muslims which followed the partition of India. We know little about the Norwegian Nobel Committee’s discussions on Gandhi’s candidature in 1948 – other than the above quoted entry of November 18 in Gunnar Jahn’s diary – but it seems clear that they seriously considered a posthumous award. When the committee, for formal reasons, ended up not making such an award, they decided to reserve the prize, and then, one year later, not to spend the prize money for 1948 at all. What many thought should have been Mahatma Gandhi’s place on the list of Laureates was silently but respectfully left open.


Source: First published 1 December 1999 by Øyvind Tønnesson Nobelprize.org Peace Editor, 1998-2000

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Sunday, January 6, 2019

Pygmalion by George Bernard Shaw


Pygmalion is a 1912 play by George Bernard Shaw, named after a Greek mythological character of the same name.

Summary :


Two old gentlemen meet in the rain one night at Covent Garden. Professor Higgins is a scientist of phonetics, and Colonel Pickering is a linguist of Indian dialects. The first bets the other that he can, with his knowledge of phonetics, convince high London society that, in a matter of months, he will be able to transform the cockney speaking Covent Garden flower girl, Eliza Doolittle, into a woman as poised and well-spoken as a duchess. The next morning, the girl appears at his laboratory on Wimpole Street to ask for speech lessons, offering to pay a shilling, so that she may speak properly enough to work in a flower shop. Higgins makes merciless fun of her, but is seduced by the idea of working his magic on her. Pickering goads him on by agreeing to cover the costs of the experiment if Higgins can pass Eliza off as a duchess at an ambassador's garden party. The challenge is taken, and Higgins starts by having his housekeeper bathe Eliza and give her new clothes. Then Eliza's father Alfred Doolittle comes to demand the return of his daughter, though his real intention is to hit Higgins up for some money. The professor, amused by Doolittle's unusual rhetoric, gives him five pounds. On his way out, the dustman fails to recognize the now clean, pretty flower girl as his daughter.



For a number of months, Higgins trains Eliza to speak properly. Two trials for Eliza follow. The first occurs at Higgins' mother's home, where Eliza is introduced to the Eynsford Hills, a trio of mother, daughter, and son. The son Freddy is very attracted to her, and further taken with what he thinks is her affected "small talk" when she slips into cockney. Mrs. Higgins worries that the experiment will lead to problems once it is ended, but Higgins and Pickering are too absorbed in their game to take heed. A second trial, which takes place some months later at an ambassador's party (and which is not actually staged), is a resounding success. The wager is definitely won, but Higgins and Pickering are now bored with the project, which causes Eliza to be hurt. She throws Higgins' slippers at him in a rage because she does not know what is to become of her, thereby bewildering him. He suggests she marry somebody. She returns him the hired jewelry, and he accuses her of ingratitude.



The following morning, Higgins rushes to his mother, in a panic because Eliza has run away. On his tail is Eliza's father, now unhappily rich from the trust of a deceased millionaire who took to heart Higgins' recommendation that Doolittle was England's "most original moralist." Mrs. Higgins, who has been hiding Eliza upstairs all along, chides the two of them for playing with the girl's affections. When she enters, Eliza thanks Pickering for always treating her like a lady, but threatens Higgins that she will go work with his rival phonetician, Nepommuck. The outraged Higgins cannot help but start to admire her. As Eliza leaves for her father's wedding, Higgins shouts out a few errands for her to run, assuming that she will return to him at Wimpole Street. Eliza, who has a lovelorn sweetheart in Freddy, and the wherewithal to pass as a duchess, never makes it clear whether she will or not.

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Thursday, January 3, 2019

The Difference Between Verse And Prose :

What is Creative Writing ?

Have you ever picked up a book that you just couldn’t put down? Ever read a blurb on the back cover and immediately bought the book? Has anyone ever said to you, “you have to read this book, it will change your life”? Haven’t we all? Creative writing is a tool we use to shape the written language into something that can reach deep down inside someone’s soul. Something that can bring a tear to the eye of anyone and that can make you re-evaluate the way you live your life. It is writing that is considered to be imaginative, original and that creates another world where anything can and will happen. Its main purpose is to entertain its audience, and then to share life experiences whether they are ones of joy or ones of sorrow. It is a way for us to communicate with each other without saying a single word, but showing each other an entire world.

What is Verse ?

There are two main types of creative writing outside what is bad and what is good, the first is verse. Verse is considered to be a more romantic type of writing as it is done so with a metrical rhythm and often uses rhyme to conclude lines. This rhythm can often be interpreted as a melody on which the words float along, bringing their message to their recipient’s ear. Used more often in poetry verse is designed to elicit emotions in the reader or portray images in the mind, often abstract or metaphorical images. This ‘higher order’ use of prose is the reason that it was seen as one of the Academic arts in ancient Greece and was viewed as a necessary skill for all enlightened individuals. Verse was later seen as the language of romance, so much so that the romantic poets viewed the understanding and use of verse to be as necessary to feed the mind as bread to feed the body. This concept of verse as a high level medium is what has led to the belief that poetry is not easily accessible or understandable and that prose is a more readily available means of communication. Of course this is largely true when it comes to conveying factual messages such as news reports or academic essays, but people often forget that one of the most popular ways of conveying a message in any culture is steeped in the tradition of verse. This is the singing of songs. Popular culture is based almost entirely around the music that is attached to it and music is nothing but verse with sound overlaying it. This clearly means that verse remains just as important a way of conveying information as prose.

What is Prose ?

Prose is the conveying of written information. It is largely associated with fictional writing such as the novel or short story, but is also used in letters, diaries and the written media. Prose is a series of sentences forming a paragraph and a series of paragraphs forming a complete message. This is the simplistic explanation but prose is actually the medium by which almost all stories are told, certainly prior to the advent of the moving picture. The way in which prose is formed makes it the most precise and clear form of communication for delivering an idea or message. Unlike verse it delivers a very approachable and clear way to ensure that the writer is reaching the reader. This would seem uncomplicated, however there are several theories surrounding the relationship between the writer and the reader in terms of understanding how prose is delivered. One theory states that prose is directed by the writer; in other words, the writer sends a message and the reader receives that message as the writer intends it to be received. This method of understanding the relationship is the one that is used in schools when students are studying authors. They are taught to interpret the message of the author and in this way understand the meaning of the work. This interpretation of prose gives the author total ownership and means that the reader just understands the prose. The other interpretation is that once the author writes the prose and it goes out into the world it becomes the property of the reader. While this does not allow for literary interpretation, what it does is allow the reader to relate to the writing on a totally personal level. This means that they do not have to be concerned about whether they are actually fully understanding the writer’s meaning as long as the meaning that they convey is clear to them and resonates with them on some level. This moves ownership of the writing away from the author.

And in the End :

This exploration of the differences between verse and prose has shown us that prose is used for a much wider range of medium and that it has a much more diverse range of purposes and uses. We have also seen that verse tends to be regarded as very highbrow even though it is used so widely in terms of popular music and song, which everyone relates to. It is also important to note that there are many similarities between verse and prose. Both are very open to interpretation, both are able to be taken as having a variety of meaning dependent on the reader and most importantly both are a medium for a writer to convey layers of meaning and messages, personal, ideological or political. It is the similarities between the two that are as interesting as the differences particularly as they are often compared as two completely different ways of writing, which they are clearly not. In conclusion we can see that the way in which verse and prose is constructed is very different, and that is purely a matter of construction, in reality any writing has a great deal more similarities than differences and it is these that make this medium so evocative.

Tuesday, December 11, 2018

A short note on University Wits



University Wits were a group of late 16th century English playwrights who were educated at the universities (Oxford or Cambridge). The name "University Wits" given by Saintsbury to a group of Elizabethan playwrights and pamphleteers. Prominent members of this group: Christopher Marlowe, Robert Greene, and Thomas Nashe from Cambridge, and John Lyly, Thomas Lodge, George Peele from Oxford. The literary elite of the time - they often ridiculed other playwrights such as Thomas Kyd and Shakespeare who did not have a university education. Some scholars think that Marlowe would have surpassed Shakespeare as an author if ha had not been killed in a tavern brawl. University Wits did make a significant contribution to Elizabethan literature in various genres. 

Christopher Marlowe (1564-1593)

Christopher Marlowe is perhaps the greatest among the University Wits. Even, he is the only dramatist who is compared with Shakespeare in that time though he lacks the warm humanity of Shakespearean plays. Marlowe represents the tragic tendency in literature. He has no interest in comedy. Again, as a dramatist, he has some serious limitations, specially, in plot constraction. His art of characterization is simple. His plays are one man show- they centre around one figure. Though he has some lackings, he is remarkable for being lyrical and romantic in his dramatic presentation of life. All his plays are poetic and artistic. The Jew of Malta and Dr. Faustus are two of his best works. These two plays clearly show Marlowe's love for conventional Machiavellian hero.

Thomas Kyd (1558-1594)

Thomas Kyd is one of the most important of the university wits. With him began the tradition of the revenge play. Many features of which are to be seen in Shakespeare’s play Hamlet and in the work of later Elizabethan dramatists like Webster and others. Almost all Shakespearean plays show a strong Senecan influence which was dominant in Elizabethan drama. The rise of English drama apparently shows the influence of classical dramatist Seneca. Of the surviving plays of Kyd The Spanish Tragedy is most important. Its horrific plot, murder, madness, death gave the play a great and lasting popularity. There is a sense of tragedy about the play. He seems to foreshadow the great tragical lines of Shakespeare.

Thomas Lodge (1558-1625)

Thomas Lodge is a lawyer by profession but he has given up his legal studied and has taken literary career. He has written only few dramas. 'Rosalynde' is the most famous of his romantic comedies. It is said that Shakespeare has taken the plot of his 'As You Like It' from Lodge's Rosalynde.

Thomas Nash (1567-1601)

Thomas Nash is a professional journalist. He took an active part in the political and personal question of the day. His writings were satirical. His ‘Unfortunate Traveller‘ or’ The Life of Jacke Wilton’ is a prose tale which is important in the development of English novel.

Robert Greene (1560-1592)

Robert Greene wrote much and recklessly. His plays made a considerable contribution to the development of English drama. His sense of wit, humour and imaginative vision revealed his dramatic Potentiality. His plays number four: Alehouses, King of Aragon, Friar Bacon & Friar Bangay. Greene is weak in creating character. His style is not one of outstanding merit but his humour is genial. His method is less strict than those of other tragedians.

George Peele (1556-1596)

George Peele became a literary hack and freelance. The famous chronicle of king ‘Edward the 1, The Old Wives Tale, The Love of King David and Fair Bethsabe etc. are his great plays. His plays have romantic, satirical and historical evidence. His style is violent to the point of absurdity. He has his moments of real poetry. He handled Blank-verse with more ease and variety that was common at that time. He was fluent and had a sense of humour and pathos. In short he represents a great advance upon the earliest drama and became Popular among the play wrights of his time for the poetical qualities of his verse.

John Lyly (1553-1606)

John lyly is another great dramatist who has a strong interest towards the romantic comedy. His comedies are marked by elaborate dialogue, jests and retorts. However, we can find his influence in Shakespearean comedies. Midas is one of the most important work of John Lyly which has shaken the development of the romantic comedy in English literature.

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Saturday, December 8, 2018

Difference Between Author and Writer


Author vs Writer

We often use the words author and writer interchangeably. But indeed both these words are quite different. A writer is a person who writes a book, article, or any literary piece, while an author is essentially the person who originates the idea, plot, or content of the work being written. At times, the author and writer can be the same person. In case of an autobiography, a person writes about the own life. So the author is expressing his own thoughts and ideas. But in cases like biographies, the writer is not the author. The ideas of thoughts of another are being written.



Though the difference may not seem to be much, depending on the situation, the difference can be more. If you are writing a novel or short story based on a plot developed by self, you get to be known as the author of the novel. And if you are penning down someone else’s ideas or stories, you will be known as the writer of the work. Being a writer is at times easier than being an author. The reason being that an author has to create, develop, and communicate an idea, while a writer has to only communicate somebody else’s idea. An author may be excused if the writing skills are not that competent. But an author must have exceptional writing skills to be dominant in the field. Writing skills include the command over the language and the expressiveness with the play of words. These skills can be obtained through constant writing and may be an inborn talent in some. Only a skilled writer is capable of portraying ideas, events, and pictures through the mere use of words.



When it comes to writing books, a person becomes an author only when the book is published. If your work is unpublished, and even if the idea is purely your own, you will still be considered as the person who wrote the work. And when your work is published you get to be known as the author of the work. So if you write a lot, but never get them published and out to the public, you remain a writer.


An author can get the work copyrighted under the copyright laws. This ensures that nobody else steals or uses the original idea as it is. So only the author is always associated with that particular idea or work. To be an author one must have the capability to think and express the thoughts. And a write must have the capability to understand and convey an idea correctly to the readers.


Summary

1. To be an author, the idea of your writing must be your own and you must get your work published.
2. An author must have a specific skill set but writer’s skill is suited to the job required.
3. You become an author when your books are published, but if your writings never publish, you remain a writer.
4. An author can get work copyrighted.

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Friday, November 30, 2018

Arms and the Man by George Bernard Shaw



Arms And The Man is a comedy by George Bernard Shaw, whose title comes from the opening words of Virgil's Aeneid in Latin: Arma virumque cano ("Arms and the man I sing").

Summary:

The play begins in the bedroom of Raina Petkoff in a Bulgarian town in 1885, during the Serbo-Bulgarian War. As the play opens, Catherine Petkoff and her daughter, Raina, have just heard that the Bulgarians have scored a tremendous victory in a cavalry charge led by Raina's fiancé, Major Sergius Saranoff, who is in the same regiment as Raina's father, Major Paul Petkoff. Raina is so impressed with the noble deeds of her fiancé that she fears that she might never be able to live up to his nobility. At this very moment, the maid, Louka, rushes in with the news that the Serbs are being chased through the streets and that it is necessary to lock up the house and all of the windows. Raina promises to do so later, and Louka leaves. But as Raina is reading in bed, shots are heard, there is a noise at the balcony window, and a bedraggled enemy soldier with a gun appears and threatens to kill her if she makes a sound. After the soldier and Raina exchange some words, Louka calls from outside the door; she says that several soldiers want to search the house and investigate a report that an enemy Serbian soldier was seen climbing her balcony. When Raina hears the news, she turns to the soldier. He says that he is prepared to die, but he certainly plans to kill a few Bulgarian soldiers in her bedroom before he dies. Thus, Raina impetuously decides to hide him. The soldiers investigate, find no one, and leave. Raina then calls the man out from hiding; she nervously and absentmindedly sits on his gun, but she learns that it is not loaded; the soldier carries no cartridges. He explains that instead of carrying bullets, he always carries chocolates into battle. Furthermore, he is not an enemy; he is a Swiss, a professional soldier hired by Serbia. Raina gives him the last of her chocolate creams, which he devours, maintaining that she has indeed saved his life. Now that the Bulgarian soldiers are gone, Raina wants the "chocolate cream soldier" (as she calls him) to climb back down the drainpipe, but he refuses to; whereas he could climb up, he hasn't the strength to climb down. When Raina goes after her mother to help, the "chocolate cream soldier" crawls into Raina's bed and falls instantly asleep. In fact, when they re-enter, he is sleeping so soundly that they cannot awaken him.

Act II begins four months later in the garden of Major Petkoff's house. The middle-aged servant Nicola is lecturing Louka on the importance of having proper respect for the upper class, but Louka has too independent a soul to ever be a "proper" servant. She has higher plans for herself than to marry someone like Nicola, who, she insists, has the "soul of a servant." Major Petkoff arrives home from the war, and his wife Catherine greets him with two bits of information: she suggests that Bulgaria should have annexed Serbia, and she tells him that she has had an electric bell installed in the library. Major Sergius Saranoff, Raina's fiancé and leader of the successful cavalry charge, arrives, and in the course of discussing the end of the war, he and Major Petkoff recount the now-famous story of how a Swiss soldier escaped by climbing up a balcony and into the bedroom of a noble Bulgarian woman. The women are shocked that such a crude story would be told in front of them. When the Petkoffs go into the house, Raina and Sergius discuss their love for one another, and Raina romantically declares that the two of them have found a "higher love."

When Raina goes to get her hat so that they can go for a walk, Louka comes in, and Sergius asks if she knows how tiring it is to be involved with a "higher love." Then he immediately tries to embrace the attractive maid. Since he is being so blatantly familiar, Louka declares that Miss Raina is no better than she; Raina, she says, has been having an affair while Sergius was away, but she refuses to tell Sergius who Raina's lover is, even though Sergius accidently bruises Louka's arm while trying to wrest a confession from her. When he apologizes, Louka insists that he kiss her arm, but Sergius refuses and, at that moment, Raina re-enters. Sergius is then called away, and Catherine enters. The two ladies discuss how incensed they both are that Sergius related the tale about the escaping soldier. Raina, however, doesn't care if Sergius hears about it; she is tired of his stiff propriety. At that moment, Louka announces the presence of a Swiss officer with a carpetbag, calling for the lady of the house. His name is Captain Bluntschli. Instantly, they both know he is the "chocolate cream soldier" who is returning the Major's old coat that they disguised him in. As they make rapid, desperate plans to send him away, Major Petkoff hails Bluntschli and greets him warmly as the person who aided them in the final negotiations of the war; the old Major insists that Bluntschli must their houseguest until he has to return to Switzerland.
Act III begins shortly after lunch and takes place in the library. Captain Bluntschli is attending to a large amount of confusing paperwork in a very efficient manner, while Sergius and Major Petkoff merely observe. Major Petkoff complains about a favorite old coat being lost, but at that moment Catherine rings the new library bell, sends Nicola after the coat, and astounds the Major by thus retrieving his lost coat. When Raina and Bluntschli are left alone, she compliments him on his looking so handsome now that he is washed and brushed. Then she assumes a high and noble tone and chides him concerning certain stories which he has told and the fact that she has had to lie for him. Bluntschli laughs at her "noble attitude" and says that he is pleased with her demeanor. Raina is amused; she says that Bluntschli is the first person to ever see through her pretensions, but she is perplexed that he didn't feel into the pockets of the old coat which she lent him; she had placed a photo of herself there with the inscription "To my Chocolate Cream Soldier." At this moment, a telegram is brought to Bluntschli relating the death of his father and the necessity of his coming home immediately to make arrangements for the six hotels that he has inherited. As Raina and Bluntschli leave the room, Louka comes in wearing her sleeve in a ridiculous fashion so that her bruise will be obvious. Sergius enters and asks if he can cure it now with a kiss. Louka questions his true bravery; she wonders if he has the courage to marry a woman who is socially beneath him, even if he loved the woman. Sergius asserts that he would, but he is now engaged to a girl so noble that all such talk is absurd. Louka then lets him know that Bluntschli is his rival and that Raina will marry the Swiss soldier. Sergius is incensed. He sees Bluntschli and immediately challenges him to a duel; then he retracts when Raina comes in and accuses him of making love to Louka merely to spy on her and Bluntschli. As they are arguing, Bluntschli asks for Louka, who has been eavesdropping at the door. She is brought in, Sergius apologizes to her, kisses her hand, and thus they become engaged. Bluntschli asks permission to become a suitor for Raina's hand, and when he lists all of the possessions which he has (200 horses, 9600 pairs of sheets, ten thousand knives and forks, etc.), permission for the marriage is granted, and Bluntschli says that he will return in two weeks to marry Raina. Succumbing with pleasure, Raina gives a loving smile to her "chocolate cream soldier."

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Monday, November 26, 2018

Lajja: Shame by Taslima Nasrin

Lajja: Shame is the story of the Dutta family; Suranjan Dutta, a Bengali Hindu, lives in Dhaka with his father Sudhamoy, mother Kironmoyee, and sister Nilanjana. To Suranjan, Bangladesh is his motherland; he was born here, got educated here, and made friends here. In spite of millions of Hindus from Bangladesh going away to India in search of peace and safety, the Duttas are unwavering in their decision to stay back regardless of all the odds. They stayed here through the partition in 1947, through the Independence struggle in 1971, and even when Bangladesh became an Islamic state in 1978.

When the Babri Masjid is demolished in Ayodhya, India on 6th December, 1992, the ripples are felt in Bangladesh too. This incident takes a communal turn due to the vested interests of the communalists and religious extremists, and leads to mass genocide and religious persecution of the Hindus, and in turn, causing a mass exodus of Hindus into India. But again, the men of the Dutta household decide to stay back despite the persistent requests of the women. Will they stay safe this time? Or will they become prey to the communal elements? Will their motherland treat them as her children? Or will she drink their blood?

Though ‘Lajja’ is the story of the Duttas, they are reverted to the background, and the newspaper reports and eye-witness accounts, with facts and figures about the number of people killed, temples destroyed, properties looted and women raped, becomes the theme of the book. This inter-mingling of numerous statistical data with a fictional plot is done with such subtleness and so seamlessly that it becomes a part of the story. The data is not just parroted in the book; it comes as a dialogue from anxious Bengalis living in fear of their lives, and this is what adds life to these numbers; it makes you realise the enormity and graveness of the situation, and sympathise with the victims.


In the introduction to this fiercely felt political novel of Bangladesh (which was a black market bestseller in India), Nasrin cites the opinions of certain friendly Bengali critics who said that it was ""no work of literature. . . an important testament [that] still fell short."" American readers may agree. Set in Bangladesh in 1992, just after the destruction of the 450-year-old Babri Mosque, in India, by Hindu fundamentalists, Nasrin's fevered plot revolves around a Hindu family and its struggles in the face of retaliatory Muslim fanaticism. The main characters are an idealistic veteran of the Liberation War, his wife and his children, a disaffected intellectual son and a 21-year-old daughter who is abducted by Muslim street toughs. But the story hardly belongs to these imaginary characters, since Nasrin peppers their tribulations with her own polemics and reportage and, in the guise of conversation, introduces page-long litanies of the horrors suffered by real-life Bengali Hindus: thousands of women raped, countless property destroyed, children burned alive. Herself a Muslim, Nasrin has been called an agent for Indian Hindu fundamentalists and has been charged with ""hurting the religious feelings of the people."" Since a fatwa was issued against her, she has gone into hiding in Europe. The criminal cases against her are still pending in Bangladesh. 

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Sunday, November 25, 2018

Persuasion by Jane Austen


Persuasion is Jane Austen's last completed novel. She began work on it in the summer of 1815 and completed it by the summer of 1816. The work was published with Northanger Abbey posthumously in December of 1817, six months after Austen’s death in July.

Summary:

Persuasion opens with a brief history of the Elliot family as recorded in Sir Walter Elliot's favorite book, The Baronetcy. We learn that the Elliots are a respected, titled, landowning family. Lady Elliot, Sir Walter's wife died fourtee n years ago and left him with three daughters: Elizabeth, Anne, and Mary. Both Elizabeth and Anne are single, but Mary, the youngest is married to a wealthy man named Charles Musgrove; they live close by. Sir Walter, who lavishly overspend s, has brought the family into great debt. When Lady Russell, a trusted family advisor, suggests that the Elliots reduce their spending, Sir Walter is horrified. He is exceedingly vain and cannot bear to imagine life without his usual comforts. But wi th no other option, the Elliots decide they must relocate to a house in Bath where their expenses will be more manageable. They intend to rent the family estate, Kellynch Hall. Order The Great Indian Novel By Shashi Tharoor

They soon find excellent tenants to rent their home; Admiral and Mrs. Croft are wealthy and well-mannered Navy people who have a model marriage. Sir Walter is relieved that the Admiral is a good-looking man. Though Sir Walter dislikes that the Navy br ings "men of obscure birth into undue distinction," he is satisfied with Admiral and Mrs. Croft as tenants for his home. Anne Elliot, the middle daughter, is also excited to meet the Crofts; Mrs. Croft is the sister of the man Anne loves. Eight years ago, she was engaged to be married to Captain Frederick Wentworth, but Lady Russell persuaded her that Captain Wentworth was not of high enough consequence, and Anne called off the engagement. With the Crofts at Kellynch, Anne hopes to see Captain Wentwor th again.

Sir Walter, Elizabeth, and Mrs. Clay (a widowed, somewhat lower-class friend of the family) leave for Bath. Anne goes to stay with her sister Mary at Uppercross Cottage for a period of two months. Mary complains often and Anne patiently listens to her sister's worries. At Uppercross, Anne finds the Musgrove family absolutely delightful. Mr. and Mrs. Musgrove have three grown children: Charles (Mary's husband), Henrietta, and Louisa. Anne marvels at the bustling nature of the household and the Musgroves' clear affection for their children. Soon news comes that Captain Wentworth has returned from sea and is staying with his sister at Kellynch. Captain Wentworth makes friends with Mr. Musgrove, and he becomes a daily visitor at Uppercross. A nne is at first anxious to see him again after such a long time, but his actions toward her are merely detached and polite. He seems more smitten with Henrietta and Louisa Musgrove. Anne resigns herself to the idea that she has lost Captain Wentworth's lo ve forever.

Captain Wentworth proposes that they all take a trip to Lyme to go visit his friends the Harvilles. While they are there, a good-looking gentleman takes notice of Anne; they later discover that this man is Mr. Elliot, Anne's cousin and Sir Walter' s heir to Kellynch. The group decides to go for a morning walk on the beach. Louisa Musgrove has a bad fall and is knocked unconscious. Anne keeps a level head and does all she can to care for Louisa. The doctor determines that Louisa will recover, but sh e will have to remain in Lyme for several months. Captain Wentworth blames himself for Louisa's fall and tries to help the Musgrove family. Anne returns to Uppercross to help Mr. and Mrs. Musgrove care for their younger children. After a few weeks, she le aves to stay with Lady Russell.

After Christmas, Lady Russell and Anne decide that they must rejoin the rest of the Elliot family in Bath, much to Anne's dismay. Sir Walter and Elizabeth care little about her, but they are glad to have her come to Bath. In Bath, she is formally introduc ed to her cousin Mr. Elliot, who has made peace with his once estranged uncle, Sir Walter. Though she questions Mr. Elliot's motives for his sudden apology, she accepts him as a pleasing gentleman. Mr. Elliot is extraordinarily appreciative of Anne, and i t is soon apparent that he seeks to make her his wife. While in Bath, Anne becomes reacquainted with an old school friend, Mrs. Smith, who has recently been widowed and fallen on hard times. From Mrs. Smith, Anne learns about Mr. Elliot's hidden past; she finds out that he has mistreated Mrs. Smith and that he plans to marry Anne to ensure that he becomes the sole heir of the Kellynch baronetcy. Mr. Elliot fears that Sir Walter will marry Mrs. Clay, have a son, and thereby deprive him of his title. He plots to ensure that he will remain Sir Walter's heir. Anne is appalled to hear this news. Order You Are Trending In My Dream By Ravindar Singh Now.

The Crofts arrive in Bath with news of two engagements; Henrietta will marry her cousin Charles Hayter, and Louisa will marry Captain Benwick, a man she met at Lyme while she was convalescing. Anne is overjoyed that Captain Wentworth is not promis ed to Louisa and is free once again. Captain Wentworth soon arrives in Bath. He is now a much richer man than he was eight years ago and Sir Walter reluctantly admits him into their social circle. Wentworth grows jealous because he believes Anne is attach ed to her cousin Mr. Elliot. Yet he writes Anne a love letter in which is pours describes his true, constant, and undying love for her. Anne is thrilled and they become engaged. Mr. Elliot is shocked that his plan to marry Anne has been foiled. He and Mrs . Clay leave Bath; it is rumored that they are together. There is no longer any danger that Sir Walter will marry beneath his station. Sir Walter and Lady Russell give their approval for the marriage between Anne and Captain Wentworth.

Saturday, November 24, 2018

Jane Austen's lesbianism is as fictional as Pride and Prejudice.



It is a truth universally acknowledged that a hack in search of a headline cannot resist conjoining Jane Austen’s name with the word “lesbian”. And so it proved this week when TV historian Lucy Worsley’s no-shit-Sherlock assertion that the Pride and Prejudice author never had sex with a man, then morphed into news stories that she had, instead, had sex with women.


It is no wonder that Claire Tomalin, Worsley’s fellow biographer of England’s Jane, laughed and called the claim “absolute bollocks” and a “tired old nag” when I asked what she thought, for it is just the latest obsession with Austen’s sex life. This time, it springs from a passage in Worsley’s new book, Jane Austen At Home: A Biography, in which she argues that there was a greater chance that the author had sex with a woman than a man. But does that mean Worsley believes she had sex with women (or “lesbian sex”, as it has been breathlessly reported by national newspapers)? Well, no. Worsley’s point about Austen’s virginal status, made at the Hay festival on Saturday, was a tongue-in-cheek rhetorical point to emphasise that, for 18th-century middle-class “spinsters” like Austen, the sexual freedom enjoyed by single women at either end of the social scale – be they aristocrats or paupers – were off limits.

You only have to read Austen novels to know this. From unwed Bennet sister Lydia running off with wicked Mr Wickham in Pride and Prejudice to Willoughby’s seduction of Colonel Brandon’s 15-year-old ward in Sense and Sensibility, it is clear that sex outside marriage meant ruination for the middle-class woman. Adding the fact that Georgian contraception was as reliable as the rhythm method and chaperones kept single women tightly superintended, any opportunity for Austen to have sex would have been as undesirable as it was unlikely.

Worsley acknowledges this in her book. “Did Jane ever have lesbian sex?” she asks in a much-misquoted passage. “Here the stakes would have been much lower. Yes, it was frowned on by society. But this was an age where women very often shared beds, and Jane herself frequently records sleeping with a female friend.” And, she admits, at a time when many did not believe sex between women was possible, the “door of possibility may remain ajar”. But read on, because that particular door was only open “by the very tiniest crack, and only in the absence of evidence either way”.

Of course we have heard this before, hence Tomalin’s calling it “absolute bollocks”. The most notorious claim about Austen’s sexuality came in 1995, when Terry Castle, professor of English at Stanford University in California, published an essay called Was Jane Austen Gay? in the London Review of Books. She not only argued that the novelist was a lesbian – but that she was at it with her sister, Cassandra. In a review of Jane Austen’s Letters, edited by Deirdre Le Faye, Castle wrote: “The conventions of 19th-century female sociability and body intimacy may have provided the necessary screen behind which both women acted out unconscious narcissistic or homoerotic imperatives.” Pride and Prejudice Only At ₹88 Order Now!!


May have, could have, would have. It amounts to the same thing: without a shred of evidence about what Austen got up to between the sheets (and the conservative wing of the Janeites are equally vehement that she never had an impure thought), it is all pure speculation. Social historian Amanda Vickery, who has made several documentaries about the writer, nails the issue behind this obsession: it says more about us than her. “The modern idea of a lesbian woman is anachronistic,” she says. “There was no understanding of the terms homosexual and lesbian that would mirror contemporary understandings.”

Even when Georgian women were gay, the phallocentric understanding of sexual intimacy meant sex between them was inconceivable. She quotes Lord Meadowbank at an 1811 trial in which two schoolmistresses were cleared of homosexuality because “the crime here alleged has no existence”. “Their private parts were not so framed as to penetrate each other, and without penetration the venereal orgasm could not possibly follow,” thundered his lordship.

In an age where sex is the standard currency with which to sell everything from celebrity careers to craft beer, attempts to sex up Austen are inevitable. But is there more to our interest than that? Austen scholar Bharat Tandon of the University of East Anglia thinks so: look to the text, he says, and the complexity of Austen’s fictional female relationships, like Emma Woodhouse’s obsession with beautiful Harriet Smith in Emma. “It’s a question of how you interpret those friendships. It is hard to unpick those moments where Emma’s interest in Harriet is because she is something to accessorise from those moments where it is somehow erotically proprietorial,” says Tandon, who edited the Harvard edition of the novel.

But none of that means Tandon believes Austen was projecting Sapphic urges. We simply do not know. We are unlikely ever to know. And it does not matter. For what this issue reveals more than anything, aside from our solipsistic readings of classic literature, is the genius of Austen and her ability to portray the ambivalence and complexity of human relationships, which is why she is read with a passion 200 years after her death.

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A short note on University Wits

University Wits were a group of late 16th century English playwrights who were educated at the universities (Oxford or Cambridge). The nam...