Thursday, April 25, 2024

Paper-110-History of English Literature: From 1900-2000-Assignment

 Assignment- Paper No: 110

This Blog is an Assignment of Paper no.110 History of English Literature: From 1900-2000. In this assignment, I am dealing with the topic Modern Age.

Information:

Name: Asha Rathod

Paper 107:  History of English Literature: From 1900-2000

Subject Code: 22403

Topic Name:Modern Age

Batch: M.A. Sem-2 (2023-25)

Roll No: 3

Enrollment No: 5108230038

Email Address: asharathod1451@gmail.com

Submitted to: Smt. S. B. Gardi, Department of English, MKBU


Modern Age


Introduction the modern age:


The Modern period in English literature began in the 20th century and extended until around 1965. It signified a stark departure from traditional modes of interaction with the world. In previous eras, experimentation and individualism were often discouraged, but during the onset of the modern period, these qualities became virtues. This shift was accompanied by numerous cultural shocks, particularly with the emergence of modernism. The turbulent events of World War I (1914-1919) and World War II (1939-1945) further shaped this era.


The modernist period within English literature emerged shortly after the turn of the 20th century. It was characterized by a deliberate and international rupture from tradition. This rupture included a strong reaction against established religious, political, and social views. Influential thinkers like Sigmund Freud and Charles Darwin played a significant role in shaping the philosophical underpinnings of this literary movement.


The rise of modern literature was deeply intertwined with the processes of increasing industrialization and globalization. The advent of new technologies, alongside the harrowing experiences of both world wars, raised profound questions about the future of humanity. Innovations such as motorcars, electric lighting, photography, phonographs, telephones, and telegraphs transformed daily life, leading to a perceived depersonalization of human existence.


Furthermore, this period witnessed significant social and political upheavals. Women protested outside parliament, demanding the right to vote, and endured imprisonment and force-feeding during hunger strikes. Meanwhile, the vast and unwieldy British Empire faced challenges, particularly from its components in the Indian subcontinent and South Asia, which eventually sought their own independence.




Characteristics of Modernism:


1. Individualism:

   - Modern literature focuses more on individuals rather than society as a whole. Characters are presented as facing challenges to their integrity. Writers like Ernest Hemingway created vivid characters who accepted their circumstances.


2. Experimentation:

   - Modernist writers broke free from traditional forms and techniques. They abandoned traditional rhyme schemes and experimented with free verse. Novelists defied expectations, mixing images from the past with modern language and themes. Stream of consciousness narration became popular, exploring the inner workings of consciousness.


3. Absurdity:

   - The two World Wars deeply affected writers, leading to a sense of the world becoming more absurd every day. Modernist authors depicted this absurdity in their works, reflecting the mysteriousness of life being lost in the rush of daily life.


4. Symbolism:

   - Modernist writers infused objects, people, places, and events with significant meanings. They imagined a reality with multiple layers, often hidden or symbolic. Symbolism was used innovatively, leaving much to the reader's imagination and allowing for multiple interpretations.


5. Formalism:

   - Modern writers viewed literature more as a craft than a flowering of creativity. They believed poems and novels were constructed from smaller parts rather than being organic processes. This belief fed into a desire for creativity and originality, leading to the use of dense vocabulary, invented words, and unique structures.


6. Diverse Variety of Themes:

   - Modern poetry covers a wide range of subjects, finding inspiration in everyday life. Poets write about subjects like trains, telephones, and other commonplace interests, abandoning the idea of grand subjects for poetic composition.


7. Realism:

   - Modern poetry reflects a note of realism, reacting against the romanticism of previous centuries. Poets paint life as it is, with all its beauty and ugliness, tearing down the veil between life and art.


8. Pessimism:

   - There is a note of pessimism and disillusionment in modern poetry, reflecting the bleakness of human life and the tragedies of the poor. Poetry becomes autumnal in tone, expressing feelings of sadness and gloom.


9. Romantic Elements:

   - Despite the dominance of realism, elements of romance continue to influence modern poetry. Certain poets maintain a spirit of romance in their works, incorporating themes of the supernatural and the mystical.


10. Nature:

    - Nature remains a significant theme in modern poetry, though it is not viewed mystically. Poets portray nature's loveliness without finding spiritual meaning in it.


11. Religion and Mysticism:    - Even in the scientific age, modern poets explore themes of religion and mysticism. Poets like W.B. Yeats and Francis Thompson keep alive the flame of religion and mysticism in their poetry.


12. Diction and Style:

    - Modern poets prefer simple and direct expression, often using free verse and abandoning traditional meter. They prioritize sense rhythm over verse rhythm, allowing for a free movement in 20th-century English poetry.


How Modernism Arose:


The literary movement of Modernism emerged as a rejection of Romantic ideas. It was born out of profound shifts in philosophy, science, politics, and ideology following the Industrial Revolution, exacerbated by the shock of World War I and its aftermath. Modern writers:


- Break with the Past: They rejected outdated literary traditions.

- Reject Outmoded Literary Traditions: Modernists discarded aesthetic values of their predecessors.

- Reject Genteel Diction: They abandoned language that seemed too refined for an era marked by technological advancements and global conflict.

- Reject Romantic Notions: Modernists consciously challenged Romantic ideals and clichés, such as the concept of the sublime, and became skeptical of language's ability to convey coherent meaning.


Characteristics of Modern Poetry:


- Stylistic Experimentation and Disrupted Syntax: Modern poets experimented with language and disrupted traditional syntax to reflect the fragmented nature of modern experience.

- Stream of Consciousness: This narrative mode aimed to portray an individual's point of view by mimicking their thought processes, often in a loose interior monologue or in connection to their actions.

- Theme of Alienation: Characters or speakers in modern poetry often feel disconnected from people, society, or the world.

- Focus on Images: Modern poets emphasized vivid imagery to evoke emotions and convey meaning.


Syntax:


Syntax refers to how sentences and language are structured. For example, E.E. Cummings experimented heavily with syntax, as seen in his poem "anyone lived in a pretty how town."


Stream of Consciousness:


This narrative technique seeks to depict an individual's thoughts directly, without a structured narrative. T.S. Eliot's "The Love Song of J. Alfred Prufrock" is an example of stream of consciousness writing.


Imagism: A Subset of Modernist Poetry:


- In traditional poetry, poets describe images in detail and link them to philosophical ideas. In Imagist poetry, the image itself is the focus.

- Ezra Pound, a founder of Imagism, outlined three guidelines: direct treatment of the subject, use of only necessary words, and creation of new rhythms, departing from traditional metrical patterns.


In essence, Modernist poetry reflects the upheaval and fragmentation of the modern world through its innovative use of language, narrative techniques, and focus on vivid imagery.


Some Modern poets:



W. H. Yeats (1865-1939)



Yeats as a modern poet:


William Butler Yeats, counted among the modern poets, profoundly influenced his contemporaries and successors such as T. S. Eliot, Ezra Pound, and W. B. Aden. While love, Irish Nationalism, and mysticism are common themes in Yeats' poetry, modernism stands as the overarching theme in his writings. Yeats embarked on his literary journey as a romantic poet but gradually transitioned into a modernist poet. As a quintessential modern poet, he reflects on the disorder and chaos of the post-war modern world, lamenting the past.


Yeats, as a modern poet, adopts an anti-rationalist attitude, evident in his fascination with occultism and mysticism. Renowned for his perception of the moral wholeness of humanity and history, Yeats is a prominent figure in modern times. He is often credited as the harbinger of modernism, deeply conscious of humanity's place in history and the soul's connection to eternity. Yeats represents the spirit of the age in his poetry, employing devices such as myth, symbolism, juxtaposition, colloquial language, and literary allusions to express the anxiety of eternity.


T. S. Eliot (1888-1965)

T. S. Eliot is regarded as one of the most important modernist poets. Both the content of his poems and his poetic style embody elements of the modernist movement that characterized his time. Modernism was seen as a rejection of traditional 19th-century norms, with artists, architects, poets, and thinkers either altering or abandoning earlier conventions in an attempt to reimagine a society in flux. Central to modernism were features such as fragmentation, free verse, contradictory allusions, and multiple points of view, diverging from Victorian and Romantic writing conventions. These modern features are prominently displayed in Eliot's works.


Two of Eliot's most notable poems, "The Love Song of J. Alfred Prufrock" and "The Waste Land," exemplify his modernist orientations. These poems showcase fragmentation, free verse, contradictory allusions, and multiple perspectives, all hallmarks of the modernist movement. Eliot's exploration of these themes and techniques helped define modernist poetry and its departure from earlier literary traditions.


Ezra Pound (1885–1972)


Ezra Pound is widely regarded as the poet most responsible for defining and promoting a modernist aesthetic in poetry. During the early years of the twentieth century, Pound facilitated a significant exchange of work and ideas between British and American writers. He was renowned for his generosity in promoting the work of major contemporaries such as W. B. Yeats, Robert Frost, William Carlos Williams, Marianne Moore, H. D., James Joyce, Ernest Hemingway, and especially T. S. Eliot. Pound's influence extended beyond his own poetry; his advocacy and support played a pivotal role in shaping the modernist literary landscape, making him a central figure in the modernist movement.


Modern Novel


  • Introduction:


The modern age is primarily characterized by the dominance of the novel, making it the most significant and popular medium of modern times. English fiction, particularly the novel, stands as the only literary form capable of rivaling the popularity of film and radio. The publication of new English fiction by novelists today garners a response akin to the excitement generated by the release of new works by renowned authors during earlier literary periods. Poetry, which once held a supreme position in literature, has yielded ground to the novel due to its ability to meet the needs of the modern world.


Characteristics:


1. Realism:

   - The modern novel embraces realism, prioritizing truth to observed facts over idealized portrayals. Modern novelists aim to capture a comprehensive view of life within their works, as demonstrated by Tolstoy's "War and Peace" and Eliot's "Middlemarch."

   

2. Love for Romance:

   - Despite the prevalence of realism and materialism, there exists a notable inclination towards the criticism of material values and a resurgence of interest in romance, sex, and adventure. This trend is highlighted by novelists like Virginia Woolf, Samuel Butler, Huxley, and Forester, who critique modern life and its focus on materialism.

   

3. Frankness in Sexual Matters:

   - The Georgian Period witnesses a departure from Victorian ideals of sexuality, with modern novelists embracing a frank depiction of sex and human passions. Writers like D.H. Lawrence explore sexual relationships, shifting the novel's focus from the gentility-morality dynamic to the relationship between loneliness and love.

   

4. Stream of Consciousness Technique:

   - The stream of consciousness technique revolutionizes narrative art by providing an escape from the constraints of linear time. Pioneered by French novelist Edouard Dujardin and popularized by psychologist William James, this technique transforms narrative structure.

   

5. Novel of Ideas:

   - Early 20th-century English fiction primarily revolves around the discussion of societal issues. The Edwardian novelists, such as H.G. Wells, Galsworthy, and Arnold Bennett, focus on social problems, using the novel as a platform for social commentary and reform.


In summary, the modern novel is characterized by its embrace of realism, resurgence of romance, frankness in sexual matters, utilization of stream of consciousness technique, and emphasis on discussing societal issues. These characteristics define the modern novel and distinguish it from earlier literary forms.



Thank you


Resources:

Britannica, The Editors of Encyclopaedia. "William Butler Yeats". Encyclopedia Britannica, 16 Apr. 2024, https://www.britannica.com/biography/William-Butler-Yeats. Accessed 25 April 2024.

Gardner, Helen , Tate, Allen and Davies, Hugh Alistair. "T.S. Eliot". Encyclopedia Britannica, 29 Feb. 2024, https://www.britannica.com/biography/T-S-Eliot. Accessed 25 April 2024.

Jeffares, A. Norman. “Yeats as Modern Poet.” Mosaic: A Journal for the Interdisciplinary Study of Literature, vol. 2, no. 4, 1969, pp. 53–58. JSTOR, http://www.jstor.org/stable/24775724. Accessed 25 Apr. 2024.

Lewisohn, Ludwig. “The Modern Novel.” The Sewanee Review, vol. 17, no. 4, 1909, pp. 458–74. JSTOR, http://www.jstor.org/stable/27532320. Accessed 25 Apr. 2024.

maryam, Maryam. “Modern Age (1900-1960).” Wikipedia, https://www.academia.edu/44226284/Modern_Age_1900_1960_. Accessed 25 April 2024.

Stock, Noel. "Ezra Pound". Encyclopedia Britannica, 2 Apr. 2024, https://www.britannica.com/biography/Ezra-Pound. Accessed 25 April 2024.

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[Words - 1967, Image 7, Video-1]





Wednesday, April 24, 2024

paper No : 109 - Literary Theory and criticism and Indian aesthetics- Assignment

 Assignment- Paper No: 109

This Blog is an Assignment for Paper no.109 Literary Theory and Criticism and Indian Aesthetics. In this assignment, I am dealing with the topic of Archetypes in Hamlet.


Information:

Name: Asha Rathod

Paper 109: Literary Theory and Criticism and Indian Aesthetics.

Subject Code: 22402

Topic Name: Archetypes in Hamlet

Batch: M.A. Sem-2 (2023-25)

Roll No: 3

Enrollment No: 5108230038

Email Address: asharathod1451@gmail.com

Submitted to: Smt. S. B. Gardi, Department of English, MKBU

  

Archetypes in Hamlet

  • Introduction: 

Archetype is described as the original pattern or model of which all things of the same type are representations or copies. Northrop Frye defined an archetype as a symbol, usually an image, which recurs often enough in literature to be recognizable as an element of one’s literary experience as a whole.  

An archetype is a literary device in which a character is created based on a set of qualities or traits that are specific and identifiable for readers. The term archetype is derived from the studies and writings of psychologist Carl Jung who believed that archetypes are part of humanity’s collective unconscious or memory of universal experiences. In a literary context, characters (and sometimes images or themes) that symbolically embody universal meanings and basic human experiences, independent of time or place, are considered archetypes.

For example, one of the most common literary archetypes is the Hero. The hero is generally the protagonist of a narrative and displays ubiquitous characteristics such as courage, perseverance, sacrifice, and rising to challenge. Though heroes may appear in different literary forms across time and culture, their characterization tends to be universal thus making them archetypal characters.

Another way of thinking about archetypes is to imagine that in some way it is possible to plot the important aspects of a story onto a graph. If enough points from several stories were plotted a pattern would start to appear. If one then drew a line that approximated the pattern that emerged in the points, that best-fit line would be an archetype. No story perfectly matches the archetype, and some stories will diverge from the archetype more than others. Still, recognizing that a pattern exists can be a powerful tool in understanding and comparing literature

  • Archetypes in Hamlet:

Hamlet sits at the crossroads of three archetypes: the Child, the Tragic Hero, and the Trickster. As the title suggests, Hamlet is the main character, and his evolution from an innocent child to an avenging killer is the focus of the play.

  • The Child: aspects include growing to potential, growing up, realizing self

  • The Tragic Hero: involves facing a fatal flaw, neither good nor evil, and suffering more than they 'deserve'

  • The Trickster: involves breaking rules, destroying conventions, and promoting chaos to pursue one's own goals.

  • The Child Archetype:

As a perennial student, Hamlet is an idealistic innocent or child archetype. While there is some debate about how old Hamlet is supposed to be in the play, he is called "young Hamlet" or "noble youth" several times. And despite its elements of ghosts and intrigue, the plot of the play revolves around the question of whether Hamlet can stop brooding, grow up, and avenge his father's murder. This archetype is universal in coming-of-age novels. It can also involve wise-beyond-their-years children and its opposite, adults who never grow up.



  • The Tragic Hero Archetype:

After witnessing his father's ghost and the “immoral” relationship between his uncle and his mother, Hamlet is cast in the role of the Avenging Tragic Hero. This archetype almost always dies at the end of his or her story. This is because the task he or she desires to complete is beyond mortal justice. It becomes a fatal flaw that leads to a tragic end. By seeking to avenge his father by murdering his uncle, Hamlet subverts the natural order and causes several unintentional deaths, including that of a pure innocent, his love interest Ophelia. Other tragic heroes include Oedipus from Oedipus Rex, Gatsby from The Great Gatsby and Okonkwo from Things Fall Apart.

  • The Trickster Archetype:

One of the enduring mysteries surrounding Hamlet is whether the main character is insane. Some claim that his misogynistic outbursts at his mother and Ophelia prove that he is actually mad. Others see these attacks and other statements as proof that Hamlet was, as he claims in the play, pretending to be crazy. And there's also a hybrid idea that Hamlet's mock madness eventually drives him really insane. A writer who has experts scratching their heads and debating character motivations centuries later is doing something right.

  • This is Hamlet in his guise as the Trickster archetype. 

  • The Trickster archetype is clever and usually uses evasion and tricks instead of a more straightforward tactic like fighting. Hamlet employs his trickster guise to find out the truth about his uncle, Claudius, and Ophelia's father, Polonius. Unfortunately, this doesn't save him from a bloody death at the end of the play.

  • The King: The King archetype embodies control, power, and leadership. People choose to follow him.

  • The Shadow King: There are two versions of the Shadow King: Weakling and Tyrant. The Weakling King uses lies and deceit to rule. The Tyrant used excessive force and violence.

  • Old King Hamlet:

The King archetype is focused on matters of state. He wants to exercise power and control. The idealized King archetype inspires others to follow him rather than forcing them to do his bidding. Old Hamlet, as the appointed King, embodies this masculine persona. In the first act of the play, the ghost of Old Hamlet appears in full military regalia. The ghost commands his son's friends to swear upon the sword and keep his secrets. When the King archetype commands, his followers immediately obey. Old Hamlet is also described as a warrior, successfully leading his army against Norway and defeating its King in hand-to-hand combat, showing his strength and command on the battlefield.  

  • Claudius:

Claudius embodies the weakling shadow of the King archetype. Unlike Old Hamlet, Claudius is a smooth-talking diplomat, not a warrior. He is compared poorly to the old King throughout the play, using sly and underhanded methods to accomplish his goals. First, he poisons his brother in his sleep. Then, he spies and plots against Hamlet, until finally, he attempts to have Hamlet killed instead of confronting him face-to-face. 

  • The Maiden and Mother Archetypes: Ophelia and Gertrude:

Interestingly, there are no positive female archetypes in Hamlet. Hamlet spurs the seemingly genuine affection of both Ophelia and his mother, Queen Gertrude. These two characters may represent some aspects of Hamlet's twisted anima—the unconscious feminine sides of a man.

This negative light forces Ophelia and Gertrude into the shadows of their archetypes: the Maiden and the Mother.

The Maiden: The Maiden archetype embodies innocence and growth. She is beginning her journey and is full of idealistic hope.

The Shadow Maiden: The Shadow Maiden is stalled in her growth and has left her powerless. Someone else has stolen her agency.

The Mother: The Mother archetype embodies nurturing, love, and gentle governance.

The Shadow Mother: The Overbearing Mother is possessive and oppressive. Her attempts to nurture end up driving her literal or symbolic child away.




  • Ophelia:

The Maiden archetype is an innocent young woman who is at one with nature. Snow White and Cinderella are excellent fairy tale examples. They sing to birds and dream of true love. Ophelia, as the Shadow Maiden archetype, is put in an untenable position. She cares for Hamlet, but she must help her father spy on him. Hamlet also rebuffs her love and says cruel things to her. In the famous Nunnery scene (Act 3, Scene 1), Hamlet tells her to "Get thee to a nunnery." This statement exemplifies the dual archetype of Ophelia. This is a double entendre—at the time, a nunnery was both a convent for religious nuns and slang for a brothel. 

The jaded harlot is the exact shadow archetype of the innocent maiden. Hamlet sees her as faithless, like a harlot who offers her favors to anyone with money. After her father's death, Ophelia goes mad. She sings, but her songs are twisted. Her death is also a dark fairytale; she drowns after falling into a stream.

  • Gertrude:

Gertrude takes on the shadow of the Mother archetype. The Mother archetype nurtures her family and puts their well-being ahead of her own. As written, Queen Gertrude tries to embody this archetype. She wasn’t involved in her first husband's murder. Her hasty marriage to her husband's brother appears to have been for the good of Denmark. 

But, in Hamlet’s eyes, Gertrude becomes the shadow of the Mother archetype: the Overbearing Mother. Every time she attempts to help her son, it ends up hurting one or both of them. She tries to comfort Hamlet in his grief, but he treats her relationship with Claudius as incestuous. By believing in Hamlet's insanity, she nearly gets him assassinated by her villainous new husband. And finally, she ends up drinking the poisoned wine intended for her son.

Hamlet’s twisted view of his mother can be clearly seen in an archetypal reading of Hamlet Act 3, Scene 4. Here, Hamlet confronts his mother about her relationship with Claudius, asking her why she would forsake her noble husband (Old Hamlet) for his “mildewed” brother. Even after murdering Polonius, Hamlet claims that his deed is only “almost as bad” as hers.

Hamlet is hyper-focused on his mother’s relationship with Claudius, ranting about “the rank sweat of an enseamed bed” and how it is “stewed in corruption.” In Hamlet’s view, the Mother archetype should limit her romantic relationships with her husband (even if he has died). Anything beyond that is a gross sin. This scene is an Oedipal reaction from Hamlet, where he is more offended than his ghostly father who appears later in the scene and takes pity on Gertrude. (3.4.113-115) 

  • The Sage Archetype: Polonius

The Sage archetype is a wise advisor, able to guide the protagonist on his or her quest.

  • Shadow Sage:

The Old Fool provides bad advice that puts the hero in danger. The Dogmatic Judge holds the hero back with restrictive rules and laws. The Sage represents spirituality or knowledge and acts as a mentor or adviser to the protagonist. Polonius embodies the shadows of this archetype: the doddering fool and the dogmatic judge. Hamlet describes him as a "tedious old fool." (Act 2, Scene 2) He speaks in cliched proverbs or maxims and is generally wrong about everything. The character wields a dual nature: naivete and cunning. Some experts suggest that, like Poirot or Columbo, he hides his cunning beneath an outward appearance of foolishness. Like Claudius, Polonius has his servants spy on his son, Laertes, suspecting that his son is gambling and behaving immorally.

  • Conclusion: 

In literature, we study economics, science, social science, etc. Like in Phonetics, we studied biology also. As Fry said Literature is the center of the humanities' It covers all disciplines from different sorts of humanities. We can identify many archetypes in particular literary texts. From Shakespeare to J.K. Rowling, we can find many archetypal readings. It is quite a wide area to read as a particular model of story. 

Thank you

Work Citation

“Archetype - Examples and Definition of Archetype.” Literary Devices, https://literarydevices.net/archetype/. Accessed 25 April 2024.

Barad, Dilip. “(PDF) I.A. Richards - Figurative Language - Practical Criticism.” ResearchGate, 5 January 2024, https://www.researchgate.net/publication/377146653_IA_Richards_-_Figurative_Language_-_Practical_Criticism. Accessed 27 April 2024.


FISCHER, SANDRA K. “Hearing Ophelia: Gender and Tragic Discourse in ‘Hamlet.’” Renaissance and Reformation / Renaissance et Réforme, vol. 14, no. 1, 1990, pp. 1–10. JSTOR, http://www.jstor.org/stable/43444750. Accessed 25 Apr. 2024.

Landa, JA García, et al. “(PDF) Notes from Northrop Frye's 'Anatomy of Criticism.'” ResearchGate, https://www.researchgate.net/publication/340539011_Notes_from_Northrop_Frye's_'Anatomy_of_Criticism'. Accessed 25 April 2024.

YUNG, CARL. “NORTHROP FRYE: THE ARCHETYPES OF LITERATURE.” Government Arts College for Women, Salem, https://www.govtwomencollegeslm8.org/e_content/English/II%20M.A.%20ENGLISH/LITERARY%20CRITICISM/UNIT%20-III%20NORTHROP%20FRYE.pdf. Accessed 25 April 2024.


[Words -1860, Image-3, Video-2]



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