Saturday, 5 March 2022
Transcendentalism - An Intellectual Movement
Tuesday, 1 March 2022
Long Day's Journey into Night
Long Day's Journey into Night
Hello, I am Emisha Ravani, Writing this blog as part of thinking activity given by Yesha Madam. Long Day’s Journey into Night, drama in four acts by Eugene O'neill, written 1939–41 and produced and published in 1956. The play, which is considered an American masterpiece, was awarded a Pulitzer Prize in 1957.
Maia Szalavitz’s Unbroken Brain: A Revolutionary New Way of Understanding Addiction explained that for addicted people, their emotional stress drove them beyond the point of controlling their compulsions. As the Washington Post puts it, the brains of people who are driven to addictive behavior are unable to resist the temptation to indulge in that behavior – not because they are corrupt and weak but because their psyche is in a constant state of pressure and tension.
Whenever we see the reference like these we can stand with it by the observation of our surrounded people who are addicts kind of. We strongly believe that they are unable to resist their temptations and because of the addiction they feel kind of pressure or one may say that because of pressure they are become addicts.
A psychologist who wrote a book entitled Addiction is a Choice, “people have more control over their behavior than they think.” On the other hand, “many scientists say addicts have literally lost control,” and that the loss of control is a characteristic of the addiction disease. A doctor said that addicts “actually lose their free will” because of what the drugs do to them.
Here we can see the two different ideas are presented that one is saying that addiction is a choice and another is saying that addicts have lost control so in this case we can observe that it is totally unacceptable in the society's parameters as addict or it is wrong deed of one's so if it is a choice then why people choose to be addict! and generally today's youth is might the victim of this process of choice of addiction.Then there must be something as psychological reasons or the blindness towards affections through actions.
Monday, 28 February 2022
Indian poetics
Indian Poetics
Classification of Literature Theories
Classification
can be done by the basis of what aspect of literary composition is central to
them. Accordingly, we have theory of :
1. Aesthetic experience : Rasa
2. Verbal symbolism : Dhvani
3. Mode of expression : Riti
4. Propriety : Aucitya
5. Principle of figurativeness :
Alamkara
6. Principle of deviation : Vakrokti
These are the things which are going to discuss
here. Let’s see the various school of these people and texts along with the
thinkers.
RASA –
Bharata, Dhanika , Dhananjaya – Natyasastra , Dasarupaka
ALAMKARA – Bhamaha , Dandin , Udbhata –
Kavyalamkara , Kavyadarsa , Kavyalamkarasarasaghaha
RITI – Vamana – Kavyalamkarasutra
DHVANI – Anandvardhana , Abhinavagupta ,
Mahimabhatta – Dhvanyaloka , Abhinavabharti , Vyaktiviveka
VAKROKTI – Kuntaka – Vakroktijivita
AUCITYA – Ksemendra – Aucityavicaracarca
We think that wNow we will discuss the theories one by one.
1.Rasa Theory
Rasa is juice. The juice
of life we get though art. Natyashastra of Bharat Muni is introducing this
theory of Rasa.
Why this is important for English?
English is not a single department of literature. English is practicing Film Studies, Translation Studies, Comparative Literature, Indian Writing in English Translation. So various kind of studies English is doing. When we practicing English Literature in Indian Academic, we should know about Indian Literary Theories and Aesthetics for widening the views about it. And by that we can develop our linguistic zone.
Definition of Poetics :
“The Art of writing poetry” – Oxford Dictionary
Every art has different medium and manner. These are the tools of evaluate the literature. That is poetics. There is the importance of sound and sense. When we talk about Indian poetics then, it mainly focused on ‘Objectivity’, not subjectivity. So we can say that it has it’s own charm to make feel. Another aspect is ‘Analysis’. We analysis the literary texts and poetries. Poetics attempts to classical works of literature on the basis of that’s characteristics and different manners.
It deals with the beautiful idea of :
Artist ( Who creates art) = Consumer (Who interpret art)
Between Artist and Consumer there is the bond of ‘Catharsis’. Artist create the work of art, but when consumer interpret it. It gives the aesthetic pleasure to the particular consumer in different capacities. That can be the every emotions the human have in the roots.
In Indian poetics, it can be come like ‘Kavya Mimansa’ (Mimansa means we study our doubts and inquire and get solutions). And this word is used by Raj Shekhar at very first place. Before he gave this name, Kavya Shatstra was known as Alankar Shastra. Literature was studied by the Alankar Shastra. Because ancient scholars were thinking that Kavya is something which is characterized by Alankar. Kavya was for them like it should be written by only beautiful words ‘Alankrut Shabd’. Then later on they realize that poetry can not be judged by the beautiful words, it require more than that. Then other schools were added into it by various Acharya. It means they were come to the awareness of the creative use of language. How language is used! How language can be used! How language should be used! Everything matters the most in literature of any kind.
Raj Shekhar mentioned that , “It is not the object describe in literature that give us pleasure, it is creative use of language that make it’s pleasant”. By this statement we can come to know that it has the most importance of the process and the shape of use in the proper term. Object is there to play it’s role but it the matter of the was of creativeness of any artist or creator.
Rasa Siddhanta :
1.Vibhav bhav – rise of emotion
- Alamban Vibhav (depending on something)
- Udipan Vibhav (encouraging)
2.Anubhav bhav – expression
3.Vybhichari bhav
(Sanchari bhav) – not primary emotions but reinforce the primary emotions
(i) Rati (Love), (ii) Hasa (Mirth), (iii)
Krodha (Anger), (iv) Utsaha (Courage), (v) Bhaya (Fear), (vi) Jugupsa
(Aversion), (vii) Vismaya (Wonder), and (viii), and Soka (Sorrow).
We can see in the above box Rasa and Sthayi Bhav.
“Aangikam Bhuvanam YasyaVachikam Sarva vaanmayamAhaaryam Chandra taaradiTam Vande Sattwikam shivam”
Aangikam – BodyBhuvanam – UniverseYasya – WhoseVaachikam – SpeechSarva – AllVaanmayam – Languages (Sound)Aaharyam – OrnamentsChandra – MoonTaara – StarsAadi – Etc.Tam – ThatVande – BowSaatvikam – PureShivam – Lord Shiva
Riti siddhanta :
Vamana is founder of Riti’s school. It is not completely new to Indian poetics. He said that Riti is soul of poetry and it makes differentiate poetry from other forms. Riti means ‘Style’. The way presentation of emotions matters in the poetics according to Vamana. Verbal organization in any work of art. Riti has main three kind:
1.Vaidarbhi
2.Gaudi
3.Panchali
Vamana says that Riti is more important than tha Alamkar.
Dhvani Siddhanta :
“Theory of suggestion” is dhvani theory. Acharya Anadvardhan is founded this theory. It has suggested meaning not the direct meaning. We generally say that we read what is between the lines, basically that is suggested meaning of any work of art.
Anandvardhan says that it gives beauty to work by it’s expression of suggested meaning and he also says that in the work of art the Dhvani is soul.
1.Abhidha (it denotes)
2.Lakshana (it indicates)
3.Vyanjana (it suggests)
Alamkar sinddhant (Figures
of speech)
The school believed
that Alamkar is essence of poetry. Alamkar means ‘Kavya Saundary’ , the beauty
of poetry itself. Like simile or metaphor. When we look to the very early Acharyas
of Sanskrit we can come to know that, for them Alamkar was so important in
poetics. Bharat mentioned four Alamakar (additional embellishments) and thirty
six Lakshanas (integral to Kavya).
Alamkar is divided into
two parts like,
Alamkar sinddhant (Figures
of speech)
The school believed
that Alamkar is essence of poetry. Alamkar means ‘Kavya Saundary’ , the beauty
of poetry itself. Like simile or metaphor. When we look to the very early Acharyas
of Sanskrit we can come to know that, for them Alamkar was so important in
poetics. Bharat mentioned four Alamakar (additional embellishments) and thirty
six Lakshanas (integral to Kavya).
Alamkar is divided into
two parts like,
- Shabdalamkar : figures of
speech based on the ‘word’
- Arthalamkar : figures
of speech based on the ‘meaning’
- Shabdalamkar : figures of speech based on the ‘word’
- Arthalamkar : figures of speech based on the ‘meaning’
Bhamah said that poetic
composition is not possible without alakaras and alamkara comes out of Vkrokti (oblique
expression) and atisyokti (hyperbole).
Vakrokti Sinddhanta :
The founder of this school is Kuntaka. The word Vakrokti consists of two components - 'vakra' and 'ukti'. The first component means 'crooked, indirect or unique' and the second means 'poetic expression or speech'. There are different types of Vakrokti suggested by Kuntaka in his Vakrokti-Jivitam Those are, Phonetic figurativeness (Varnavinyasa Vakrata), Lexical figurativeness (padapurvardha Vakrata), Grammatical figurativeness (pratyaya vakrata), Sentential Figurativeness (Vakyavakrata), Contextual figurativeness (Prakarana vakrata), and Compositional figurativeness (Prabandha vakrata). Kuntaka talks about four kinds of Guna. Those are, Madhurya, Prasada, Lavanya and Abhijatya.
He mentions that the meaning is signified and word signifies the meaning. He elaborated his idea on word, meaning, style, metaphor and poetic language. And later he describes of the good qualities of a true poetry. A good poetry is what which has unique expression, meaning which delights the readers.
Aucitya Siddhanta :
Aucitya is defined as harmony and in one aspect it is proportion between the whole and the parts, between the chief and the subsidiary.
“Auchitya is the soul of the poem.” – Kshemendra
27 Types of Auchitya By Kshemendra
1. Pada (Phrase)
2. Vakya( sentence)
3. Prabhandhanartha (the meaning of the whole composition)
4. Guna(qualities)
5. Alankara(poetic figure)
6. Rasa ( State of being)
7. Kriya(Verb)
8. Karaka (case ending)
9. Linga(Gender)
10. Vachana (Number)
11. Visheshana (Qualification)
12. Upsarga (Prefix)
13. Nipata (Redundancies)
14. Kala (Time)
15. Desh (country)
16. Kula (Family)
17. Vrata (custom)
18. Tatva (Truth)
19. Satva(Inherent self)
20. Abhipraya (Motive)
21. Swabhava (Nature)
22. Sarsangraha (essential property)
23. Pratibha (Innate ability)
24. Avastha (state)
25. Vichara(Thought)
26. Nama(Name)
27. Aashirwada(Blessings)
Each and every mentioned types has something to help to give meaning to poetry.
So, now we have seen the various schools of Indian Poetics. To get more idea through example you can visit my another blog click here.
THANK YOU !
Bhamah said that poetic
composition is not possible without alakaras and alamkara comes out of Vkrokti (oblique
expression) and atisyokti (hyperbole).
The founder of this school is Kuntaka. The word Vakrokti consists of two components - 'vakra' and 'ukti'. The first component means 'crooked, indirect or unique' and the second means 'poetic expression or speech'. There are different types of Vakrokti suggested by Kuntaka in his Vakrokti-Jivitam Those are, Phonetic figurativeness (Varnavinyasa Vakrata), Lexical figurativeness (padapurvardha Vakrata), Grammatical figurativeness (pratyaya vakrata), Sentential Figurativeness (Vakyavakrata), Contextual figurativeness (Prakarana vakrata), and Compositional figurativeness (Prabandha vakrata). Kuntaka talks about four kinds of Guna. Those are, Madhurya, Prasada, Lavanya and Abhijatya.
He mentions that the meaning is signified and word signifies the meaning. He elaborated his idea on word, meaning, style, metaphor and poetic language. And later he describes of the good qualities of a true poetry. A good poetry is what which has unique expression, meaning which delights the readers.
Aucitya is defined as harmony and in one aspect it is proportion between the whole and the parts, between the chief and the subsidiary.
“Auchitya is the soul of the poem.” – Kshemendra
27 Types of Auchitya By Kshemendra
1. Pada (Phrase)
2. Vakya( sentence)
3. Prabhandhanartha (the meaning of the whole composition)
4. Guna(qualities)
5. Alankara(poetic figure)
6. Rasa ( State of being)
7. Kriya(Verb)
8. Karaka (case ending)
9. Linga(Gender)
10. Vachana (Number)
11. Visheshana (Qualification)
12. Upsarga (Prefix)
13. Nipata (Redundancies)
14. Kala (Time)
15. Desh (country)
16. Kula (Family)
17. Vrata (custom)
18. Tatva (Truth)
19. Satva(Inherent self)
20. Abhipraya (Motive)
21. Swabhava (Nature)
22. Sarsangraha (essential property)
23. Pratibha (Innate ability)
24. Avastha (state)
25. Vichara(Thought)
26. Nama(Name)
27. Aashirwada(Blessings)
Each and every mentioned types has something to help to give meaning to poetry.
So, now we have seen the various schools of Indian Poetics. To get more idea through example you can visit my another blog click here.
THANK YOU !
Sunday, 27 February 2022
The Waste Land
The Waste Land - Thinking Activity
The Burial of the Dead
A Game of Chess
The Fire Sermon
Death by Water
What the Thunder Said
The central theme of the poem:
The basic theme of The Waste Land is the disillusionment of the post-war generation and sterility of the modern man. The critics have commented on the theme in different words: "vision of desolation and spiritual drought" (F. R. Leavis)
And also we can say “The Sexual Perversion and Spiritual
Drought”. Poet might wanted to portray the 20th century’s flow
towards it. Whenever the flow leads towards spiritual drought in automatic way
the sexual perversion may come into way of flow.
As
we know that Freud and Nietsche, both are somehow believing in individualism in
a focused way. Freud talks about ‘Primitive Instinct’. He also give a study of
psychoanalysis where he mentioned the Id, Ego and Superego theory. He insist
the progressiveness and on the other side T.S.Eliot insist the regressive ness.
He believes that there is nothing wrong to become regressive because human
learn from the past. Paradoxically, Freud says that whatever humans repression,
it will come out in a chain of mantle illness.
“Ganga was sunken, and the limp leaves
Waited for rain, while the black clouds
Gathered far distant, over Himavant.
The jungle crouched, humped in silence.
Then spoke the thunder
DA
Datta: what have we given?
My friend, blood shaking my heart
The awful daring of a moment’s surrender
Which an age of prudence can never retract
By this, and this only, we have existed
Which is not to be found in our obituaries
Or in memories draped by the beneficent spider
Or under seals broken by the lean solicitor
In our empty rooms
DA
Dayadhvam: I have heard the key
Turn in the door once and turn once only
We think of the key, each in his prison
Thinking of the key, each confirms a prison
Only at nightfall, aethereal rumours
Revive for a moment a broken Coriolanus
DA
Damyata: The boat responded
Gaily, to the hand expert with sail and oar
The sea was calm, your heart would have responded
Gaily, when invited, beating obedient
To controlling hands
I sat upon the shore
Fishing, with the arid plain behind me
Shall I at least set my lands in order?
London Bridge is falling down falling down falling down
Poi s’ascose nel foco che gli affina
Quando fiam uti chelidon — O swallow swallow
Le Prince d’Aquitaine à la tour abolie
These fragments I have shored against my ruins
Why then Ile fit you. Hieronymo’s mad againe.
Datta. Dayadhvam. Damyata.
Shantih shantih shantih”
The Waste Land appeared in 1922. The poem, which won Eliot the Nobel Prize in 1948, follows the legend of the Holy Grail and the Fisher King combined with vignettes of contemporary British society. He employs literary and cultural allusions from the western canon, Buddhism and the Hindu Upanishads. The poem shifts between voices of satire and prophecy featuring abrupt and unannounced changes of speaker, location, time and conjuring a vast range of cultures and literatures.
The epic of the modernism ‘The Waste Land’. When it came out there was a time of Spanish flu, between the time of WW1 and WW2. Even when we want to look at this kind of sight we should know the author’s biography surely. During that time people were writing the letters and by those letters we can find their physical and mental states.
By the letters of Eliot we can find that Eliot and his wife caught the virus in Dec 1918 in the second wave of the pandemic. Also many members of family died in the influenza of the pandemic. Now we can say that it was too much effect to Eliot’s state of mind and mantle condition while writing this “long epidemic of domestic influenza”. He had not good relationship with his wife because sort of personal sexual interrupting and wife’s relations with other men even. we can see by his own letters. It influenced Eliot’s mind even he was suffered from physical problem. “I have simply had a sort of collapse; I slept almost continuously for two days….I feel very weak and exhausted.” In Letter to Henry from Eliot. This statement is showing his health condition very clearly. “A new form of influenza… which leaves extreme dryness and a bitter taste in the mouth” …“hot rainless sprint” – Loddon Letter in The Dial (july1921). There were symptoms of the flu like people were becoming tasteless and frightened, fever in the body. He suffered from nervous breakdown in 1921. We can find this kind of imaginaries in the poem. Critics have studied this poem by many various aspects or the dimensions but one of them ‘Viral Context’ they did not seen. In the whole poem we can not find the direct reference of war and pandemic as well as. Might, the reason can be that whenever writer write or they paint the words, there is must ongoing journey of unconscious thought process. By the driving flow of all the aspects they write, which are unconscious or subconscious. Many critics are dealing with the idea of the war fragments though we may say that, in the part of the poem Eliot has portrayed the same thing by post-pandemic consciousness, according to Elizabeth Outka.
We can observe influenza of The Waste Land by vivid terms. To prove the roots of pandemic in the poem. ‘A delirium logic’, when we see the poem we can find that there are many images in that collage and those are not to connected easily to each other. We have to connect to get sense of the whole idea of the poem. As well as there are many speckers who have mentioned something in weird tones. By this term we can understand that if we have fever then in our dream there is total frightened way or the disturbed flow of images.
‘The miasmic residue of the pandemic experience’, in the beginning lines we can find the this kind of negative atmosphere like all the bodies are suffering from the acute illnesses. ‘Feverish hallucination’ specks about the symptoms of the feverish body. “ Burning burning burning burning O Lord Thou pluckest me out O Lord Thou pluckest burning” these lines may showing the bodily pain of one’s own.
‘Fragmentary language’ by this term, we should look to the original line of the poem in the image of ‘A Game of Chess’. Here he might experienced the isolation on own self as he portrayed the broken language. Then he went towards spiritual crisis by the thirst of water. He uses like ‘If there were water and no rock’ it is symbolically well designed thought of draught of spiritual sense of living. It throws light towards pandemic delirium rather than war. The poem’s form and content both are equally dealing with the spiritual, psychological, physical and mental aspects of poet through pandemic lens.
‘Water and Wind’, by using this term we can say that in the pandemic time everywhere there is virus as we see the line like “Under the brown fog, the wind under the door, what is the wind doing, the wind crosses the brown land, only the wind’s home” “Fear death by water; the drowned Phoenician sailor , death by water”. ‘Tolling of Bells’, this symbolizing the constant deaths of people who lives in the domestic streets and they are dying by the pandemic. It’s not talk about the battle field cause bells tolling was not happening for whose they are died in the battel fields.
In the current pandemic we all are fighting very individually rather than it belongs to the our social decorum though it is more social. Somewhere we are not able to read even very clear glasses with transparency. Even we were not aware about the vocab of pandemic before it happened.
Furtherly, there is the mentioned of “Death and Bones”. How people were living deadly-enervated living. To get the clear idea of the death we should jump to the image of pervasive death and bones echo images and accounts from the era. Elizabeth Outka referred the painting of A Grim Reaper by Australian artist Alfred Kubin to justify the image of influenza. ‘Viral Resurrection’, in this by influenza not only effect to the people’s body but the landscapes, cities, minds, vegetation world, language etc infected by virus. We can feel in parts of the poem. ‘ Silence, forgetting, after life’, poems talks about war somehow but contently a representation of the silence that surrounded the pandemic.
As we seen above that, It's difficult way to capture the quality of
pandemic in the particular way of writing and more difficult to read any
produced text by the using the pandemic lens.