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Saturday, 3 June 2017

Euphuism

Euphuism

🔹 Euphuism is an elaborately patterned prose style, characterized in particular by the extensive use of similes and metaphors, parallelism, alliteration, and antithesis.                      
🔹 Derives its name from the moralistic prose romance Euphuism: The Anatomy of Wit (1578) by John Lyly

Comic Relief

Comic Relief

🔹 an amusing scene, incident, or speech introduced into serious or tragic elements, as in a play, in order to provide temporary relief from tension, or to intensify the dramatic action.                      
 🔹 Its main purpose is to alleviate tension and adding variety in more carefully wrought play                      
 🔹 examples...
1. The Gravedigger scene in Hamlet
2. The scene of drunken porter after the murder of the king in Macbeth
3. The Falstaff scene in Henry lV part l
4. The roles of Mercutio and the old nurse in Romeo and Juliet

Comedy of Humors

Comedy of Humors

Ben Johnson is the first dramatist, who conceived and popularized this dramatic genre during late sixteenth century. The term humor derives from Latin word ‘humor’ that means liquid. It comes from a theory that human body has four liquids or humors, which include phelgm, blood, yellow bile and black bile. It explains that when human beings have balance of these humors in their bodies, they remain healthy.

Carpe Diem

Carpe Diem

🔹The origin of this phrase is tracked to a Latin poem from the book of Horace, “Odes Book-I.”.

🔹Later, many writers used it as a quote in their works. For instance, Lord Byron included it in his work “Letters.”

🔹Horace uses it in his poem a,
* “Dum loquimur, fugerit invida/Aetas: carpe diem, quam minimum credula postero.”*

🔹According to Horace, our future is unpredicted, so we should do whatever we can do today, and do not just depend upon chances and opportunities that you may hope to come in your future.                      
🔹 The exact meaning of this phrase is to “seize the day.” It is a proverb. It means that one should act today and ignore the future. 

Blank Verse

Blank Verse

🔹 Blank verse is a literary device defined as un-rhyming verse written in iambic pentameter. In poetry and prose, it has a consistent meter with 10 syllables in each line (pentameter); where, unstressed syllables are followed by stressed ones and five of which are stressed but do not rhyme. It is also known as un-rhymed iambic pentameter.                      
🔹 The Earl of Surrey introduced blank verse in English literature in 1540. Milton, Shakespeare, Marlowe, John Donne, John Keats and many other poets and dramatists have used this device in their works.                        
🔹Blank verse poetry has no fixed number of lines.

🔹It has a conventional meter that is used for verse drama and long narrative poems.

🔹It is often used in descriptive and reflective poems and dramatic monologues— the poems in which  single character delivers his thoughts in the form of a speech.

🔹Blank verse can be composed in any kind of meter, such as iamb, trochee, spondee and dactyl.                      
🔹The Structure of a Blank Verse Poem

1. Five feet of iambic syllables

2. Sounding
 du DUM du DUM du DUM du DUM du DUM

3.Each foot making the verse sound like it has heart beat rhythm.                      
🔹 It appeared for the first time in drama in Thomas Sackville and Thomas Norton's Gorboduc                      
🔹 Earl of Surrey introduced blank verse in his translation of Books 2 and 4 of Virgil's Aeneid                        
🔹 eg.
Paradise Lost (1667)
The Seasons (1726-30)
The Prelude (1805)
Idylls of the King (1891)
The Ring and the Book (1868-69)
The Waste Land (1922)
Aurora Leigh                        

Archaism

Archaism

🔹 Archaism is the use of writing or speech which is now rarely used. It is the use of older versions of language and art. Such as in this line, “To thine own self be true” (Hamlet)

🔹 It means the literary use of words and expressions that have became outdated in the common speech of an era.

🔹 Spenser and the King James Bible have in their turn been major sources of archaisms for Milton and many later authors.                      
🔹Archaism is frequently used in poetry, prose, science, law, geography, ritual and technology speech and writing. It may have been used accidentally or purposefully. The role of archaism in history is to suggest a superior, but maybe mythical, ancient golden age. Also, it can be used for creating humor and irony. However, the most effective use of archaism are in poetry. The sound patterns of the archaic words are helpful when it comes to assonance, alliteration and rhyme scheme.

Allusion

Allusion

🔹 Allusion is a brief and indirect reference to a person, place, thing or idea of historical, cultural, literary or political significance. It does not describe in detail the person or thing to which it refers. It is just a passing comment and the writer expects the reader to possess enough knowledge to spot the allusion and grasp its importance in a text.                      
🔹 Allusions that refers to events more or less contemporary with the text are called topic all allusions those referring to specific people are called personal allusions                      
🔹 eg. “This place is like a Garden of Eden.” – This is a biblical allusion to the “garden of God” in the Book of Genesis.

🔹eg. Sir Philip Sydney's Astrophrlel and Stella contains punning allusions to Lord Robert Rich who had married the Stella of the sonnets.

Alliteration

Alliteration

🔹 Alliteration is derived from Latin’s “Latira”. It means “letters of alphabet”. It is a stylistic device in which a number of words, having the same first consonant sound, occur close together in a series.

🔹 it is usually applied only to consonants and when the recurrent sound occurs in a conspicuous position at the beginning either of a word or of a stressed syllable within a word.

🔹 it was the principal organizing force in Old English poetry.

🔹 it was also used in many Middle English poems such as Langland's Piers Plowman

Consonance


🔹 it is the repetition of a sequence of two or more consonants, but with a change in the intervening vowel such as ...... Live-love, lean-alone, pitter-patter.

🔹 Consonance is a literary device in which a consonant sound is repeated in words that are in close proximity. The repeated sound can appear anywhere in the words, unlike in alliteration where the repeated consonant sound must occur in the stressed part of the word.


🔹 Consonance is also a similar concept to assonance, which refers to the repetition of vowel sounds in quick succession.

Sibilance


🔹Sibilance is a special case of consonance because it involves the repetition of consonant sounds, but only of sibilant consonants, i.e., “s,” “sh,” and “z.” One common example of sibilance is the following tongue twister: She sells seashells by the seashore.

Assonance

🔹 It is also known as Vocalic rhyme 
🔹 eg. Recurrent long I in the opening lines if Keats "Ode on a Grecian Urn" -

Thou still unravished bride of quietness,

Thou foster child of silence and slow time.

Alienation Effect

Alienation Effect 

🔹 The German dramatist Bertolt Brecht adapted the Russian Formalist concept of defamiliarization in his epic theatre of the 1920's and later called it the alienation effect (Verfremdungseffekt)

🔹 prevents the emotional identification or involvement of the audience with the characters and their actions in a play.

🔹 makes familiar aspects of the present social reality seem strange.

🔹 prevents jadedness, incapacity to feel and social apathy in the audience

⁠⁠⁠⁠⁠Affective fallacy

⁠⁠⁠⁠⁠Affective fallacy

🔹Affective fallacy is the error of judging a poem by its emotional effects on the reader.

🔹 the term was introduced by W. K. Wimsatt and Manroe C. Beardsley  in their essay The Affective fallcy (1946)

🔹 They pointed out that such an emotional judgment will result in impressionism and relativism


A letter to Fanny Brawne: By Keats..

A letter to Fanny Brawne:

25 College Street

My dearest Girl,

This moment I have set myself to copy some verses out fair. I cannot proceed with any degree of content. I must write you a line or two and see if that will assist in dismissing you from my Mind for ever so short a time. Upon my Soul I can think of nothing else – The time is passed when I had power to advise and warn you again[s]t the unpromising morning of my Life – My love has made me selfish. I cannot exist without you – I am forgetful of every thing but seeing you again – my Life seems to stop there – I see no further. You have absorb’d me. I have a sensation at the present moment as though I was dissolving – I should be exquisitely miserable without the hope of soon seeing you. I should be afraid to separate myself far from you. My sweet Fanny, will your heart never change? My love, will it? I have no limit now to my love – You note came in just here – I cannot be happier away from you – ‘T is richer than an Argosy of Pearles. Do not threat me even in jest. I have been astonished that Men could die Martyrs for religion – I have shudder’d at it – I shudder no more – I could be martyr’d for my Religion – Love is my religion – I could die for that – I could die for you. My Creed is Love and you are its only tenet – You have ravish’d me away by a Power I cannot resist: and yet I could resist till I saw you; and even since I have seen you I have endeavoured often “to reason against the reasons of my Love.” I can do that no more – the pain would be too great – My Love is selfish – I cannot breathe without you.

Yours for ever
John Keats

some of John Keats’ great poems...

some of John Keats’ great poems...

When I Have Fears that I May Cease to be – Famous Sonnet with Romantic Feeling

Ode to Psyche – Highly acclaimed work of Keats, Psyche is a heather Goddess, beloved of Eros or Cupid

Ode on Indolence – It was written in March 1819. Ten iambic pentameter is used in this poem.

Ode to Autumn – John Keats composed this poem in Sept 1819 and published in 1820. The Ode can be compared with Shelley’s Ode to the West Wind.

Ode on a Grecian Urn – Written in 1819 and published in 1820.

Ode to a Nightingale – This is his loveliest poem.

Ode on Melancholy – This is the last of the Odes in the 1920 Volume. Metre is Iambic Pentameter.
 The wild wine slips with the weight of its leaves – Swinburne

📝 I regard myself as an Indian poet writing in English – Nissim Ezekiel

📝“And malt does more than Milton can
To justify God’s way to man” – A.E Houseman

📝 There is no such thing as a moral or an immoral book, Books are well written or badly written. That is all. – Oscar Wilde

📝 The best place to seek God is in a garden, you can dig for Him there. – GB Shaw

📝 For last year’s words belong to last year’s language, and next year’s words await another voice – TS Eliot

📝 It is not for me to judge another man’s life – Hermann Hesse

📝Tolerance becomes a crime when applied to evil.
The cool thing about unemployment is every day is Saturday – Jarod Kintz
Dr. B. R. Ambedkar on Literature of Brahminism

Mr. Mansing Vitthal Thombare
A Research Student,
Shivaji University, Kolhapur.

Dr. B. R. Ambedkar, a prominent person of Indian Constitution, as a solicitor, studied in several fields as multidisciplinary person. He wrote on a number of subjects and issues of India and, here, the researcher’s emphasis on Dr. Ambedkar’s critical view on literature of Brahaminism such as The Bhagvat Geeta, The Mahabharata, The Ramayana, The Vedant Sutras, and The Puranas. The researcher intends to find out conclusions of Dr. Ambedkar which he was finding from the above literary works which is based on virtues and philosophy of Hinduism and Buddhism. In his writings and speeches which were compiled in Dr. Babasaheb Ambedkar: Writings and Speeches Vol.3, by Prof. Hari Narake, Dr. Ambedkar has discussed the Literature of Brahminism or religious texts of Hindus.
            Some of the religious texts of Hindus were discussed or studied or analyzed by Dr. Ambedkar on the basis of three questions: 1) When did the work compose?, 2) Who is the author of the text?, and 3) Which is the original or additional part of the book? Now we are going to discuss the books as Dr. Ambedkar analyzed respectively.
            The Bhagvat Geeta is a great religious book to Hindus, a conversation between Lord Krishna and his disciple Arjuna. Dr. B. R. Ambedkar stated:
…there is a difference of opinion regarding the date of the composition of the Bhagwat Gita, there is no difference of opinion that the Bhagwat Gita has gone through many editions. All share the conviction that the Bhagwat Gita has not reached us in its original form but has undergone essential transformations at the hands of different editors who have added to it from time to time. It is equally clear that the editors through whose hands it has gone were not of equal calibre.[i]

As Prof. Garbe points out:
The Gita is certainly ‘no artistic work which the all comprehending vision of a genious has created.’ The play of inspiration is indeed often times perceptible; not seldom, however, there are merely high-sounding, empty words with which an idea that has been already quite often explained, is repeated; and occasionally the literary expression is exceedingly faulty. Verses are bodily taken over from the Upanishad literature, and this is certainly what a poet filled with inspiration would never have done. The workings of Sattva, Rajas and Tamas are systematized with a truly Indian pedantry, and much indeed besides this could be brought forward to prove that the Gita is not the product of a genuinely poetic creative impulse...”[ii]

            Dr. Ambedkar has found different editions of The Bhagvat Geeta and shocked by finding that every edition is different with additions of new virtues and thoughts by different editors; he said that what parts of Geeta are original and what parts of Geeta are additions subsequently made. No doubt, it’s a good preaching text but a question is raised about its originality. Dr. Ambedkar has concluded that much of part of Geeta was derived from Buddhism as per his readings and evidences which he has provided in the text.
            Another question is raised here about who is the author of The Bhagvat Geeta? As we know it’s a conversation, between Krishna and Arjuna as Krishan propounds his philosophy to Arjuna at the battle field in The Mahabharata, is reported by Sanjaya –a man, with supernatural power of seeing everything happened at the battle field without visiting the place- to Dhritrashtra –father of Kaurawas. One may say that Vyas is the author of The Bhagvat Geeta; because Vyas asks Sanjaya to report to Dhritarashtra.
            Vedic literature, a base of all the philosophy of Hindus or Literature of Brahminism, consists two parts/mimansa: 1) Purva Mimansa (early parts)- literature which deals with religious observances and rites and ceremonies is called Karma Kanda, which includes- i) Vedas, and ii) the Brahamanas; and 2) Uttara Mimansa (later parts)- literature which deals with the knowledge about god to use the vedic equivalence is called Gnana Kanda, which includes- i) the Aranyaks, and ii) Upanishadas.
            Again a question is raised about author of The Vedant Sutras- Jaimini or Badaratana? Dr. Ambedkar has found five commentaries on The Vedant Sutras by-
1) Shankaracharya- absolute monism
2) Ramanujanacharya- qualified monism
3) Nimarkacharya- mono dualism
4) Madhavacharya- dualism
5) Vallabhacharya- Pure monism
            With these references, Dr. Ambedkar inferences that some of them are stated complete oneness between god and individual’s soul; and some of them signified that the world is an illusion. Then again confusion is raised about its philosophy and originality of the text.
            The Mahabharata is a religious book of Hindus and nearly all of us well known of its story. Dr. Ambedkar discussed these Hindu religious books based on the three questions. There are three editions of the book The Mahabharata with different titles and by different authors/editors. First edition was published as Jaya (Victory) by Vyasa; next one titled as Vaishampayana by Vaishampayana, a disciple of Vyasa; last one was titled as The Mahabharata by Sauti, another disciple of Vyasa. The number of shlokas were increasing by every edition from 8800 shlokas to 96836 shlokas till the last edition which clearly shows that new additions in the text which may be lost of originality of the text.
            The Ramayana is a story of a war between Rama and Ravana, over the abduction of Rama’s wife Sita by Ravana. By The Puranas, we can say Rama is an awtar of God as Krishna in Mahabharata. It is a fact that like Mahabharata, the Ramayana has also gone through three editions. There are two sorts of references to the Ramayana in the Mahabharata. In one case the reference is to Ramayana without any mention of the author. The other reference is to the Ramayana of Valmiki. But the present Ramayana is not the Ramayana of Valmiki. In the opinion of Mr. C. V. Vaidya:
“That the present Ramayana, even as it is approved and adopted by the searching and all-respected commentator Kataka, is not the Ramayana originally written by Valmiki, not even the most orthodox thinker will be disposed to doubt. Whoever even cursorily reads the poem, cannot but be struck with the inconsistencies, the severances of connections, juxtapositions of new and old ideas which abound so greatly in the present Ramayana, whether we take the Bengal or the Bombay text of it. And one cannot but come to the conclusion that the Ramayana of Valmiki was substantially reconstructed at some subsequent date.”[iii]

            The last book was discussed by Dr. B. R. Ambedkar is The Puranas- five subjects were discussed in the book- 1) Sarga- creation of the universe, 2) Prati sarga- dissolution of the universe, 3) Vamsh- geneology, 4) Manavtar- ages of different Manus:14 successive sovereign of the earth, and 5) Vamshacharitra- the account of royal dynasties. Dr. Ambedkar concluded:
This short survey is enough to remove any doubt as to the age of this literature that it is post-Buddhistic. The survey establishes one more point of great significance. This literature arose during the period subsequent to the triumph of Brahmins under the leadership of Pushyamitra. The survey brings out one other point. Vyas writes Mahabharata. Vyas tells Bhagwat Gita, and Vyas also writes the Puranas. Mahabharata contains 18 Parvas, the Gita has 18 Adhyayas and the Puranas number 18. Is all this an Accident? Or is it the result of a design planned and worked out in concert? We must wait and see.[iv]

            To conclude, the present study is emphasized on criticism of literature of Brahminism by Dr. Ambedkar. One more statement of Dr. Ambedkar, the researcher intends to show here, about The Bhagvat Geeta:
The question will no doubt be asked: What is the Bhagvat Gita if it is not a gospel? My answer is that the Bhagvat Gita is neither a book of religion nor a treatise on philosophy. What the Bhagvat Gita does is to defend certain dogmas of religion on philosphic grounds. If on that account anybody wants to call it a book of religion or a book of philosophy.[v]

Dr. Ambedkar has proved many things wrong which were found in all these literary works such as composition dates, authors and its originality. In The Mahabharata, adhyaya 190, it was found that the words ‘mlenchas’ (muslims) and ‘vrashalas’ (Bhikshus in Buddhism) are parallel in meanings in Buddhism which inferenced The Bhagavatgeeta is borrowed from Buddhism in form of different words only but meanings and preaching are same doctrines. Dr. ambedkar stated:
The Bhagvat Gita discusses Bramha-Nirvana. The steps by which one reaches Bramha. Nirvana are stated by the Bhagvat Gita to be (1) Shraddha (Faith in oneself); (2) Vyavasaya (Firm determination); (3) Smriti (Rememberance of the goal); (4) Samadhi (Earnest contemplation) and (5) Prajna (Insight or True Knowledge). From where has the Gita borrowed this Nirvana theory? Surely it is not borrowed from the Upanishads. For no Upanishad even mentions the word Nirvana. The whole idea is peculiarly Buddhist and is borrowed from Buddhism. Anyone who has any doubt on the point may compare this Bramha-Nirvana of the Bhagvat Gita with the Buddhist conception of Nirvana as set out in the Mahapari-nibbana Sutta. It will be found that they are the same which the Gita has laid down for Bramha-Nirvana. Is it not a fact that the Bhagvat Gita has borrowed the entire conception of Brmhma Nirvana instead of Nirvana for no other reason except to conceal the fact of its having stolen it from Buddhism?[vi]

That is indirectly to state that the Geeta is clearly borrowed from Buddhism.
            Dr. Ambedkar’s intension was not merely to compare Hinduism with Buddhism but also it was to show that human being is a topmost religion in the world and we have to use doctrines from our religious literary works as guidance for how to live a life peacefully. Religions are for us and we are not for religion that is main teaching from Dr. Ambedkar in his present discussion. For readers, Dr. Ambedkar stated:
Any one who reads the dialogue will notice the following points:
(1) The questions put by Arjuna are not philosophical questions. They are natural questions put by a worldly man faced with worldly problems.
(2) Upto a point Krishna treats them as natural questions and returns to them quite natural replies.
(3) The dialogue takes a new turn. Arjuna after having informed Krishna positively and definitely that he will not fight, suddenly takes a new turn and expresses a doubt whether it is a good to kill the Kauravas or be killed by them.This is a deliberate departure designed to give Krishna a philosophical defence of war, uncalled for by anything said by Arjuna.
(4) Again there is a drop in the tone of Krishna from verses 31 to 38. He treats the question as natural and tells him to fight because it is the duty of the Kshatriya to fight.
Anyone can see from this that the introduction of the Vedanta philosophy is quite unnatural and therefore a later intrusion.[vii]

            Dr. Ambedkar’s view on literature of Brahminism is about the discussion of similarities between Hinduism and Buddhism and Buddhism is older than Hinduism as per his references were given in the text. Mostly of the philosophy from Hinduism is derived from Buddhism.
Refrences:
Narake, Prof. Hari. Dr. Babasaheb Ambedkar: Writings and Speeches Vol.3. Education Department, Govt. of Maharashtra1987.



[i] Dr. Babasaheb Ambedkar : Writings and Speeches. p. 245.
[ii] Ibid p. 3.
[iii] The Riddle of the Ramayana Chap. II. p. 6.
[iv] Dr. Babasaheb Ambedkar : Writings and Speeches. p. 257.
[v] Dr. Babasaheb Ambedkar : Writings and Speeches. p. 361.
[vi] Max Muller Mahapari-Nibbana Sutta p. 63.
[vii] Dr. Babasaheb Ambedkar : Writings and Speeches. p. 377.