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Literary Criticism
Exam 2020 held in 2021
Part: C
- Discuss touchstone method with reference to âThe Study of Poetryâ.
- Discuss Eagletonâs views on Romanticism.
- Discuss the two-fold implications of culture.
- How does Eliot refute Johnsonâs remark about Metaphysical Poetry?
- Discuss Matthew Arnold as a critic.
- Discuss the term Dissociation of Sensibility.
- How does Said appreciate English Novel in his critical essay.
- Discuss the crisis of modern civilization with reference to The Rise of English.
Part: B
- Discuss the term poetry is the criticism of life.
- What are the characteristics of good poetry?
- Write a short note on Eagletonâs prose style.
- Why does Said write his book Culture and Imperialism?
- What are the similarities between modern poets and Metaphysical poets?
- What do you mean by consolidation of Imperialism?
- What do you mean by post colonialism?
- How does Eliot praise Donneâs ability to unify the intellectual thoughts and sensation of feeling?
- What do You know about Abraham Cowley?
- How is culture an instrument of imperialism?
- Differentiate between intellectual poet and reflective poet.
- Write a short note on Chaucer.
- Write a short on Neo-classicism.
Part-A
1. What is meant by âillusionâ?
Ans: It means something which does not exist but creates a momentary impression.
2. How is poetry âthe criticism of lifeâ?
Ans: Poetry deals with the ideas of life that a reader finds when he reads a poem.
3. What does the term âpoetic truthâ mean?
Ans: It means that the subject matter of poetry should correspond to truth.
4. Who is Homer?
Ans: First greatest epic poet of ancient Greece who wrote Iliad and Odyssey.
5. Who is âtouchstoneâ?
Ans: It is a stone that is used to judge the purity of gold.
6. How does Chaucer present human life?
Ans: From the truly human point of view.
7. How is the structure of Herbertâs sentences?
Ans: Far from simple. It is fidelity to thought and feeling.
8. How was Marlowe as an Elizabethan dramatist?
Ans: He was of prodigious intelligence.
9. What does Eliot want to conclude about the âmetaphysical poets?
Ans: The metaphysical poets are in the direct current of English poetry, and that their faults should be reprimanded by this standard.
10. In what sense is Conrad a precursor of the Western views of the Third World?
Ans: Because he tends to deliver the non-European world either for analysis and judgment or for satisfying the exotic tastes of the Western readers.
11. What is Saidâs expectation about the American nation?
Ans: He expects that the United States will remain a coherent nation despite having cultural diversity.
12. What kind of writing is âThe Study of Poetryâ?
Ans: Critical Writing.
13. Define Charlatanism?
Ans: It is a show of knowledge where there is no true knowledge.
14. What is Chivalry?
Ans: Chivalry refers to the qualities of the knights in middle age like courage, honor, loyalty etc.
15. Who was Cowley?
Ans: the 17th-century metaphysical poets were highly appreciated by Dr. Johnson.
16. Who was T.S Eliot?
Ans: T.S Eliot was one of the greatest poets and critics of the 20th century.
17. How does Eliot brand Griersonâs metaphysical poetry?
Ans: Eliot brands it as a so-called school of poetry or a movement.
18. What does Orientalism mainly deal with?
Ans: Deals with the affairs of the Middle East.
19. What is diction?
Ans: It refers to the vocabulary used by a writer.
20. What is one of the main subjects of Saidâs book âCulture and Imperialismâ?
Ans: The historical experience in relation to culture and aesthetic forms.
21. What is high seriousness?
Ans: It means the serious treatment or grand style of the subject matter.
22. Who does Arnold regard as the ideal poets?
Ans: Homer, Virgil, Dante, Shakespeare, and Milton.
23. What is the dissociation of sensibility?
Ans: It is a literary term first used by T.S Eliot in his essay âMetaphysical Poetsâ. It indicates the way in which intellectual thought was separated from the experience of feeling in 17th-century poetry?
24. Who, according to Said, are the children of decolonization?
Ans: A new generation of scholars and critics.
25. Why does T.S Eliot praise the metaphysical poets?
Ans: Because the metaphysical poets have the tendency to be engaged in the task of trying to find the verbal equivalent for states of mind and feeling.
26. What is âOrientalismâ?
Ans: It is a famous critical work of Edward Said, showing the attitude of the West towards the East.
27. What is the theme of âThe Rise of Englishâ?
Ans: It deals with the development of English literature from the 18th century onwards under British imperial rule.
28. What is the meaning of the word âneoclassicalâ?
Ans: It refers to the style of art and literature of 18th century England, based on the classical models of ancient Greece and Rome.
29. What are organic societies?
Ans: In Eagletonâs view, organic societies are just convenient myths for belaboring the mechanized life of modern industrial capitalism.
30. How does Arnold define poetry?
Ans: Poetry is the criticism of life under the conditions fixed for such a criticism by the laws of poetic truth and poetic beauty.
31. How do the colonizers deserve the right of ruling the colonized?
Ans: Because the colonized people are inferior to the colonizers.
32. What is âcreative imaginationâ?
Ans: It is an image of non-alienated labor, the intuitive and spiritual essence of a poetic mind, according to Eagleton.
33. When did Saidâs family leave Cairo?
Ans: In 1963
34. What is Matthew Arnoldâs concept of culture?
Ans: The concept is that culture is refining and elevating elements, each societyâs reservoir of the best.
35. Where is Conradâs Nostromo set in?
Ans: In an independent Central American republic, rich in a silver mine.
36. What sort of view does Nastromo offer?
Ans: A profoundly unforgiving view.
37. When did America come out as an empire?
Ans: During the 19th and the second half of the 20th century.
38. Who is Matthew Arnold?
Ans: Most powerful English poet-critic.
39. Why does Arnold say, âfor poetry the idea is everythingâ?
Ans: He means that poetry is based on ideas that are fundamental to humanity.
40. Which age does Arnold belong to?
Ans: Victorian age.
41. Who says, âpoetry attaches its emotion to the idea that the idea is the factâ?
Ans: Matthew Arnold.
42. What is Arnoldâs definition of a classic?
Ans: Classic means the works of literature or art of the first rank or authority of acknowledged excellence.
43. What is the touchstone method?
Ans: It is a method of comparison between the truly great poets of the past with the new poets in the qualities of their creations.
44. When does a poet achieve âhigh seriousnessâ in his poetry?
Ans: When he treats a serious subject in a simple and intense manner.
45. What is Eliotâs brief comment on Griersonâs anthology?
Ans: He comments that it is a âpiece of criticism and a provocation of criticismâ.
46. In what sense is a poet better when he is more intelligent?
Ans: In the sense that when he is more intelligent, he will have more interests.
47. What is the connection between âCulture and Imperialismâ and âOrientalismâ?
Ans: A general worldwide pattern of imperial culture and a historical experience of resistance against empire form Culture and Imperialism and this makes it different from Orientalism.
48. Why is Donne more successful than Cowley?
Ans: For using brief words and sudden contrasts.
49. How does Edward Said associate âcultureâ with âartâ?
Ans: Said associates âcultureâ with âartâ in the sense that it exists in aesthetic forms aiming at giving pleasure and it includes all the practices in the art of description, communication, and representation which are autonomous from economic social, and political fields.
50. When does culture become a source of identity?
Ans: When there is a difference between âusâ (the colonizers) and âthemâ (the colonized), culture becomes a source of identity.
51. What was âScrutinyâ?
Ans: It was a quarterly periodical of literary criticism, founded in 1932 by L.C. Knights and F.R. Leavis.
52. What kind of writing is âThe Study of Poetryâ?
Ans: Critical Writing.
53. What is the role of poetry in human life?
Ans: It sustains and consoles human beings by interpreting life.
54. How does Eliot characterize Donneâs line âA bracelet of bright hair about the boneâ?
Ans: He characterizes it as the telescoping of images and multiplied associations.
55. How is the language of the metaphysical poets?
Ans: Simple and pure.
56. How does Said admire Dante and Shakespeare?
Ans: They gave mankind âthe best that was thought and knownâ, the realistic picture of life.
57. What kind of writing is âThe Rise of English?
Ans: It is an essay which is the first chapter after introduction in Terry Eagletonâs famous book Literary Theory: An Introduction.
58. What is An Apology for Poetry?
Ans: It is a long essay of Sir Philip Sidney to defend the superiority of poetry.
59. What according to Eagleton should be the motive of literature?
Ans: Literature should convey timeless truths, thus distracting the masses from their immediate commitments.
60. What is the difference between idea and illusion?
Ans: Idea is a thought in the mind and exists, but illusion is something that does not exist.
61. What element of poetry is common for Donne and Cowley?
Ans: Both employ metaphysical devices.
62. What is A Defense of Poetry?
Ans: An essay of P.B. Shelley.
63. Name some of Arnoldâs best poems.
Ans: The Scholar Gipsy, Dover Beach, Thyrsis, Rugby Chapel.
64. What has Arnold said about religion in âThe Study of Poetryâ?
Ans: The religious faith has crumbled and become subject to question and change.
65. How is the language of Herbert?
Ans: Simple and elegant.
66. How is poetry greater than history?
Ans: Poetry deals with universal and deeper human truths, is undoubtedly greater than history which deals with what happens in reality or dry facts of life.
67. What was worrying for the Victorian ruling class?
Ans: Loss of faith or failure of religion.
68. How does Eliot characterize the work of the 17th century?
Ans: As âmore often named than reading, and more often read than profitably studiedâ.
69. Who, according to Eliot, is more profound and less sectarian than the other metaphysical poets?
Ans: Crashaw.
70. Who is Montaigne?
Ans: Famous French writer is known as the first essayist in world literature.
- Question: Discuss the term âpoetry is the criticism of lifeâ.
Or, evaluate Arnoldâs theory or definition of poetry.
Introduction: One of the most prestigious forms of writing is poetry. It is an art that is embedded in the soul and spirit of the people. The âfirst modern criticâ Matthew Arnold (1822-1888) shows high conception on poetry in his literary criticism âThe Study of Poetryâ which is his attempt to establish the standard of what poetry should be. He asserts that the best poetry is the âcriticism of life by the laws of poetic truth and poetic beautyâ.
āĻā§āĻŽāĻŋāĻāĻž: āĻ˛ā§āĻāĻžāĻ° āĻ āĻ¨ā§āĻ¯āĻ¤āĻŽ āĻŽāĻ°ā§āĻ¯āĻžāĻĻāĻžāĻĒā§āĻ°ā§āĻŖ āĻ°ā§āĻĒ āĻš’āĻ˛ āĻāĻŦāĻŋāĻ¤āĻžāĨ¤ āĻāĻāĻŋ āĻāĻŽāĻ¨ āĻāĻāĻāĻŋ āĻļāĻŋāĻ˛ā§āĻĒ āĻ¯āĻž āĻŽāĻžāĻ¨ā§āĻˇā§āĻ° āĻāĻ¤ā§āĻŽāĻž āĻāĻŦāĻ āĻā§āĻ¤āĻ¨āĻžāĻ¯āĻŧ āĻ āĻ¨ā§āĻ¤āĻ°ā§āĻā§āĻā§āĻ¤āĨ¤ âāĻĒā§āĻ°āĻĨāĻŽ āĻāĻ§ā§āĻ¨āĻŋāĻ āĻ¸āĻŽāĻžāĻ˛ā§āĻāĻâ āĻŽā§āĻ¯āĻžāĻĨā§ āĻāĻ°ā§āĻ¨āĻ˛ā§āĻĄ (1822-1888) āĻāĻŦāĻŋāĻ¤āĻžāĻ° āĻāĻĒāĻ° āĻāĻā§āĻ āĻ§āĻžāĻ°āĻŖāĻž āĻĻā§āĻāĻžāĻ¯āĻŧ āĻ¤āĻžāĻāĻ° āĻ¸āĻžāĻšāĻŋāĻ¤ā§āĻ¯ā§āĻ° āĻ¸āĻŽāĻžāĻ˛ā§āĻāĻ¨āĻž “āĻāĻŦāĻŋāĻ¤āĻž āĻ āĻ§ā§āĻ¯āĻ¯āĻŧāĻ¨”āĻ āĻ¯āĻž āĻ¤āĻžāĻ° āĻĒā§āĻ°āĻ¯āĻŧāĻžāĻ¸ āĻ¸ā§āĻā§āĻ¯āĻžāĻ¨ā§āĻĄāĻžāĻ°ā§āĻĄ āĻĒā§āĻ°āĻ¤āĻŋāĻˇā§āĻ āĻžāĻ° āĻāĻ¨ā§āĻ¯ āĻ¯ā§ āĻāĻŦāĻŋāĻ¤āĻž āĻā§āĻŽāĻ¨ āĻšāĻāĻ¯āĻŧāĻž āĻāĻāĻŋāĻ¤ āĨ¤ āĻ¤āĻŋāĻ¨āĻŋ āĻŦāĻ˛ā§ āĻ¯ā§ āĻ¸ā§āĻ°āĻž āĻāĻžāĻŦā§āĻ¯āĻā§āĻ°āĻ¨ā§āĻĨ āĻš’āĻ˛ “āĻāĻžāĻŦā§āĻ¯āĻŋāĻ āĻ¸āĻ¤ā§āĻ¯ āĻ āĻāĻžāĻŦā§āĻ¯āĻŋāĻ āĻ¸ā§āĻ¨ā§āĻĻāĻ°ā§āĻ¯ā§āĻ° āĻŦāĻŋāĻ§āĻŋ āĻĻā§āĻŦāĻžāĻ°āĻž āĻā§āĻŦāĻ¨ā§āĻ° āĻ¸āĻŽāĻžāĻ˛ā§āĻāĻ¨āĻž”āĨ¤
The âCriticism of Lifeâ: The phrase âCriticism of lifeâ means proper interpretation of life. Poetry accurately explains life. Here we discover and analyze how poetry is the criticism of life.
âāĻā§āĻŦāĻ¨ā§āĻ° āĻ¸āĻŽāĻžāĻ˛ā§āĻāĻ¨āĻžâ
“āĻā§āĻŦāĻ¨ā§āĻ° āĻ¸āĻŽāĻžāĻ˛ā§āĻāĻ¨āĻž” āĻļāĻŦā§āĻĻāĻāĻŋāĻ° āĻ āĻ°ā§āĻĨ āĻā§āĻŦāĻ¨ā§āĻ° āĻ¯āĻĨāĻžāĻ¯āĻĨ āĻŦā§āĻ¯āĻžāĻā§āĻ¯āĻžāĨ¤ āĻāĻŦāĻŋāĻ¤āĻž āĻā§āĻŦāĻ¨āĻā§ āĻ¸āĻ āĻŋāĻāĻāĻžāĻŦā§ āĻŦā§āĻ¯āĻžāĻā§āĻ¯āĻž āĻāĻ°ā§āĨ¤ āĻāĻāĻžāĻ¨ā§ āĻāĻŽāĻ°āĻž āĻāĻŦāĻŋāĻˇā§āĻāĻžāĻ° āĻāĻŦāĻ āĻŦāĻŋāĻļā§āĻ˛ā§āĻˇāĻŖ āĻāĻ°āĻŦ āĻ¯ā§ āĻāĻŦāĻŋāĻ¤āĻž āĻā§āĻāĻžāĻŦā§ āĻā§āĻŦāĻ¨ā§āĻ° āĻ¸āĻŽāĻžāĻ˛ā§āĻāĻ¨āĻžāĨ¤
Integrity between poetry and human life: Arnold defines poetry as a critique of life. To put it differently, poetry must concern itself with life and the problems of life. It should not be remote in a way that does not directly connect to our lives.
āĻāĻŦāĻŋāĻ¤āĻž āĻāĻŦāĻ āĻŽāĻžāĻ¨āĻŦ āĻā§āĻŦāĻ¨ā§āĻ° āĻŽāĻ§ā§āĻ¯ā§ āĻ āĻāĻŖā§āĻĄāĻ¤āĻž
āĻāĻ°ā§āĻ¨āĻ˛ā§āĻĄ āĻāĻŦāĻŋāĻ¤āĻžāĻā§ āĻā§āĻŦāĻ¨ā§āĻ° āĻ¸āĻŽāĻžāĻ˛ā§āĻāĻ¨āĻž āĻšāĻŋāĻ¸āĻžāĻŦā§ āĻ¸āĻāĻā§āĻāĻž āĻĻāĻŋāĻ¯āĻŧā§āĻā§āĻ¨āĨ¤ āĻāĻāĻŋāĻā§ āĻ āĻ¨ā§āĻ¯āĻāĻžāĻŦā§ āĻŦāĻ˛āĻ¤ā§ āĻā§āĻ˛ā§ āĻāĻŦāĻŋāĻ¤āĻž āĻ āĻŦāĻļā§āĻ¯āĻ āĻā§āĻŦāĻ¨ āĻāĻŦāĻ āĻā§āĻŦāĻ¨ā§āĻ° āĻ¸āĻŽāĻ¸ā§āĻ¯āĻžāĻā§āĻ˛āĻŋāĻ° āĻ¸āĻžāĻĨā§ āĻ¨āĻŋāĻā§āĻā§ āĻāĻĻā§āĻŦā§āĻāĻŋāĻ¤ āĻāĻ°ā§āĨ¤ āĻāĻāĻŋ āĻāĻŽāĻ¨āĻāĻžāĻŦā§ āĻĻā§āĻ°āĻŦāĻ°ā§āĻ¤ā§ āĻšāĻāĻ¯āĻŧāĻž āĻāĻāĻŋāĻ¤ āĻ¨āĻ¯āĻŧ āĻ¯āĻž āĻāĻŽāĻžāĻĻā§āĻ° āĻā§āĻŦāĻ¨ā§āĻ° āĻ¸āĻžāĻĨā§ āĻ¸āĻ°āĻžāĻ¸āĻ°āĻŋ āĻ¸āĻāĻ¯ā§āĻ āĻ¨āĻž āĻāĻ°ā§āĨ¤
Source of ingredients of life: By the phrase âCriticism of Lifeâ Arnold means to say that the readers can identify their faults and mistakes for the purpose of rectification by going through poems. They must apply the powerful ideas which they pick up through reading poetry.
āĻā§āĻŦāĻ¨ā§āĻ° āĻāĻĒāĻžāĻĻāĻžāĻ¨āĻā§āĻ˛āĻŋāĻ° āĻāĻ¤ā§āĻ¸
“āĻā§āĻŦāĻ¨ā§āĻ° āĻ¸āĻŽāĻžāĻ˛ā§āĻāĻ¨āĻž” āĻāĻ āĻŦāĻžāĻā§āĻ¯āĻāĻŋāĻ° āĻĻā§āĻŦāĻžāĻ°āĻž āĻāĻ°ā§āĻ¨āĻ˛ā§āĻĄ āĻŦāĻ˛āĻ¤ā§ āĻā§āĻ¯āĻŧā§āĻā§āĻ¨ āĻ¯ā§ āĻĒāĻžāĻ āĻāĻ°āĻž āĻ¤āĻžāĻĻā§āĻ° āĻ¤ā§āĻ°ā§āĻāĻŋ āĻāĻŦāĻ āĻā§āĻ˛āĻā§āĻ˛āĻŋ āĻ¸āĻ¨āĻžāĻā§āĻ¤ āĻāĻ°āĻ¤ā§ āĻĒāĻžāĻ°ā§āĻ¨ āĻ¸āĻāĻļā§āĻ§āĻ¨ āĻāĻ°āĻžāĻ° āĻāĻĻā§āĻĻā§āĻļā§āĻ¯ā§ āĻāĻŦāĻŋāĻ¤āĻž āĻĒāĻĄāĻŧā§ āĨ¤ āĻ¤āĻžāĻĻā§āĻ° āĻ āĻŦāĻļā§āĻ¯āĻ āĻļāĻā§āĻ¤āĻŋāĻļāĻžāĻ˛ā§ āĻ§āĻžāĻ°āĻŖāĻžāĻā§āĻ˛āĻŋ āĻĒā§āĻ°āĻ¯āĻŧā§āĻ āĻāĻ°āĻ¤ā§ āĻšāĻŦā§ āĻ¯āĻž āĻ¤āĻžāĻ°āĻž āĻāĻŦāĻŋāĻ¤āĻž āĻĒāĻĄāĻŧāĻžāĻ° āĻŽāĻžāĻ§ā§āĻ¯āĻŽā§ āĻā§āĻ°āĻšāĻŖ āĻāĻ°ā§āĨ¤
The ways of leading life: Arnold claims that poetry teaches us how to lead life since it is filled with moral ideas. By emphasizing the moral system, Arnold does not mean the composing of moral or didactic poems. Rather, according to Arnold, it is the question of how to live and whatever comes under it, that is moral. Arnold quotes Milton:
âNor love thy life nor hate; but what thou livâst
Live well; how long or short, permit to heavenâ
Besides poetry gives shelter and consolation in crisis.
āĻā§āĻŦāĻ¨ āĻ¯āĻžāĻĒāĻ¨ā§āĻ° āĻāĻĒāĻžāĻ¯āĻŧ
āĻāĻ°ā§āĻ¨āĻ˛ā§āĻĄ āĻĻāĻžāĻŦāĻŋ āĻāĻ°ā§āĻā§āĻ¨ āĻ¯ā§ āĻāĻŦāĻŋāĻ¤āĻž āĻāĻŽāĻžāĻĻā§āĻ° āĻļā§āĻāĻžāĻ¯āĻŧ āĻ¯ā§ āĻā§āĻāĻžāĻŦā§ āĻā§āĻŦāĻ¨āĻā§ āĻĒāĻ°āĻŋāĻāĻžāĻ˛āĻ¨āĻž āĻāĻ°āĻ¤ā§ āĻšāĻ¯āĻŧ āĻ¯ā§āĻšā§āĻ¤ā§ āĻāĻŦāĻŋāĻ¤āĻž āĻ¨ā§āĻ¤āĻŋāĻ āĻ§āĻžāĻ°āĻŖāĻž āĻĻāĻŋāĻ¯āĻŧā§ āĻĒā§āĻ°ā§āĻŖāĨ¤ āĻ¨ā§āĻ¤āĻŋāĻ āĻŦā§āĻ¯āĻŦāĻ¸ā§āĻĨāĻžāĻ¤ā§ āĻā§āĻ° āĻĻāĻŋāĻ¯āĻŧā§, āĻāĻ°ā§āĻ¨āĻ˛ā§āĻĄ āĻļā§āĻ§ā§ āĻ¨ā§āĻ¤āĻŋāĻ āĻŦāĻž āĻ āĻ¨ā§āĻŽāĻžāĻ¨āĻŽā§āĻ˛āĻ āĻāĻŦāĻŋāĻ¤āĻž āĻ°āĻāĻ¨āĻžāĻā§ āĻŦā§āĻāĻžāĻāĻ¨āĻŋāĨ¤ āĻŦāĻ°āĻ āĻāĻ°ā§āĻ¨āĻ˛ā§āĻĄā§āĻ° āĻŽāĻ¤ā§, āĻā§āĻāĻžāĻŦā§ āĻŦāĻžāĻāĻāĻ¤ā§ āĻšāĻŦā§ āĻāĻŦāĻ āĻ¯āĻž āĻāĻŋāĻā§ āĻāĻ° āĻ¨ā§āĻ¤āĻŋāĻ āĻāĻāĻ¤āĻžāĻ¯āĻŧ āĻāĻ¸ā§, āĻāĻāĻžāĻ āĻĒā§āĻ°āĻļā§āĻ¨āĨ¤ āĻāĻ°ā§āĻ¨āĻ˛ā§āĻĄ āĻŽāĻŋāĻ˛ā§āĻāĻ¨ā§āĻ° āĻāĻĻā§āĻ§ā§āĻ¤āĻŋ āĻĻāĻŋāĻ¯āĻŧā§āĻā§āĻ¨:
âāĻ¤ā§āĻŽāĻžāĻĻā§āĻ° āĻā§āĻŦāĻ¨āĻā§ āĻā§āĻŦ āĻāĻžāĻ˛ā§āĻŦā§āĻ¸ā§āĻ¨āĻž āĻ¨āĻž āĻŦāĻž āĻā§āĻŖāĻž āĻāĻ°ā§ āĻ¨āĻž; āĻ¤āĻŦā§ āĻĒāĻāĻ¨ā§āĻĻ āĻŽāĻ¤ā§ āĻāĻžāĻ˛ā§āĻāĻžāĻŦā§ āĻŦāĻžāĻāĻā§
āĻāĻžāĻ˛ āĻĨāĻžāĻ; āĻ¸ā§āĻŦāĻ°ā§āĻā§āĻ¯āĻŧ āĻ¸ā§āĻā§āĻ° āĻŽāĻ¤ā§ āĻāĻžāĻ°āĻŖ āĻā§āĻŦāĻ¨ āĻ¸āĻāĻā§āĻˇāĻŋāĻĒā§āĻ¤ “
Conclusion: To sum up, we can say that poetry is the criticism of life. It is the responsibility of the reviewer to examine both poetry and life at the same time. Arnold performs his duty as a father of modern criticism, although his theory of poetry has extended the hornet’s nest or numerous reactions.
- Question: Discuss the characteristic features of good poetry.
Introduction: Matthew Arnold (1822-1888) is a prominent English poet and critic of the twentieth century. He has brought a revolution to the world of English literature with his critical essays, prose, and poetry. As poetry is a high-quality literary work that shows deep feelings with beauty and elegance, it should be written following a number of organized requirements.
āĻā§āĻŽāĻŋāĻāĻž: āĻŽā§āĻ¯āĻžāĻĨā§ āĻāĻ°ā§āĻ¨āĻ˛ā§āĻĄ (1822-1888) āĻŦāĻŋāĻļ āĻļāĻ¤āĻā§āĻ° āĻŦāĻŋāĻļāĻŋāĻˇā§āĻ āĻāĻāĻ°ā§āĻā§ āĻāĻŦāĻŋ āĻāĻŦāĻ āĻ¸āĻŽāĻžāĻ˛ā§āĻāĻāĨ¤ āĻ¤āĻŋāĻ¨āĻŋ āĻ¤āĻžāĻāĻ° āĻ¸āĻŽāĻžāĻ˛ā§āĻāĻ¨āĻžāĻŽā§āĻ˛āĻ āĻĒā§āĻ°āĻŦāĻ¨ā§āĻ§, āĻāĻĻā§āĻ¯ āĻāĻŦāĻ āĻāĻŦāĻŋāĻ¤āĻž āĻĻāĻŋāĻ¯āĻŧā§ āĻāĻāĻ°ā§āĻāĻŋ āĻ¸āĻžāĻšāĻŋāĻ¤ā§āĻ¯ā§āĻ° āĻāĻāĻ¤ā§ āĻāĻāĻāĻŋ āĻŦāĻŋāĻĒā§āĻ˛āĻŦ āĻ¨āĻŋāĻ¯āĻŧā§ āĻāĻ¸ā§āĻā§āĻ¨āĨ¤ āĻāĻŦāĻŋāĻ¤āĻž āĻ¯ā§āĻšā§āĻ¤ā§ āĻāĻāĻāĻŋ āĻāĻā§āĻāĻŽāĻžāĻ¨ā§āĻ° āĻ¸āĻžāĻšāĻŋāĻ¤ā§āĻ¯āĻāĻ°ā§āĻŽ āĻ¯āĻž āĻ¸ā§āĻ¨ā§āĻĻāĻ°ā§āĻ¯ āĻāĻŦāĻ āĻāĻŽāĻ¨ā§āĻ¯āĻŧāĻ¤āĻžāĻ° āĻ¸āĻžāĻĨā§ āĻāĻā§āĻ° āĻ āĻ¨ā§āĻā§āĻ¤āĻŋ āĻĒā§āĻ°āĻĻāĻ°ā§āĻļāĻ¨ āĻāĻ°ā§, āĻāĻāĻŋ āĻŦā§āĻļ āĻāĻ¯āĻŧā§āĻāĻāĻŋ āĻ¸āĻāĻāĻ āĻŋāĻ¤ āĻĒā§āĻ°āĻ¯āĻŧā§āĻāĻ¨ā§āĻ¯āĻŧāĻ¤āĻžāĻ° āĻ āĻ¨ā§āĻ¸āĻ°āĻŖ āĻāĻ°ā§ āĻ°āĻāĻ¨āĻž āĻāĻ°āĻž āĻāĻāĻŋāĻ¤āĨ¤
Features of good poetry: According to Arnold, high-quality poetry contains the following features.
The criticism of life: A poetry cannot be good without having the criticism of life since Matthew Arnold has declared the high position of poetry. The term “criticism of life” means the proper interpretation of life. Poetry accurately explains life. Arnold defines poetry as a critique of life. To put it differently, poetry must concern itself with life and the problems of life.
Poetic truth and poetic beauty: Poetic truth and poetic beauty are the souls of poetry. They are so vital that a poet cannot imagine his poetical success without them.
âBut for supreme poetical success more is required than the powerful application of ideas to life;
it must be an application under the conditions fixed, by the laws of poetic beauty and poetic truth.â
By poetic truth, Arnold indicates the representation of life in a true way, and by poetic beauty, he refers to the manner and style of poetry. The subject matter of the best poem is characterized by truth, and seriously to a certain degree.
āĻāĻžāĻŦā§āĻ¯āĻŋāĻ āĻ¸āĻ¤ā§āĻ¯ āĻāĻŦāĻ āĻ¸ā§āĻ¨ā§āĻĻāĻ°ā§āĻ¯
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âāĻ¤āĻŦā§ āĻ¸āĻ°ā§āĻŦā§āĻā§āĻ āĻāĻžāĻŦā§āĻ¯āĻŋāĻ āĻ¸āĻžāĻĢāĻ˛ā§āĻ¯ā§āĻ° āĻāĻ¨ā§āĻ¯ āĻā§āĻŦāĻ¨ā§ āĻ§āĻžāĻ°āĻŖāĻžāĻ° āĻļāĻā§āĻ¤āĻŋāĻļāĻžāĻ˛ā§ āĻĒā§āĻ°āĻ¯āĻŧā§āĻā§āĻ° āĻā§āĻ¯āĻŧā§ āĻāĻ°āĻ āĻŦā§āĻļāĻŋ āĻĒā§āĻ°āĻ¯āĻŧā§āĻāĻ¨; āĻāĻžāĻŦā§āĻ¯āĻŋāĻ āĻ¸ā§āĻ¨ā§āĻĻāĻ°ā§āĻ¯ āĻāĻŦāĻ āĻāĻžāĻŦā§āĻ¯āĻŋāĻ āĻ¸āĻ¤ā§āĻ¯ā§āĻ° āĻāĻāĻ¨ āĻ āĻ¨ā§āĻ¸āĻžāĻ°ā§ āĻāĻāĻŋ āĻ āĻŦāĻļā§āĻ¯āĻ āĻ¨āĻŋāĻ°ā§āĻ§āĻžāĻ°āĻŋāĻ¤ āĻļāĻ°ā§āĻ¤ā§āĻ° āĻ āĻ§ā§āĻ¨ā§ āĻāĻāĻāĻŋ āĻ ā§āĻ¯āĻžāĻĒā§āĻ˛āĻŋāĻā§āĻļāĻ¨ āĻšāĻ¤ā§ āĻšāĻŦā§â
āĻāĻžāĻŦā§āĻ¯āĻŋāĻ āĻ¸āĻ¤ā§āĻ¯ āĻĻā§āĻŦāĻžāĻ°āĻž, āĻāĻ°ā§āĻ¨āĻ˛ā§āĻĄ āĻ¸āĻ¤ā§āĻ¯ āĻāĻĒāĻžāĻ¯āĻŧā§ āĻā§āĻŦāĻ¨ā§āĻ° āĻāĻĒāĻ¸ā§āĻĨāĻžāĻĒāĻ¨āĻž āĻ¨āĻŋāĻ°ā§āĻĻā§āĻļ āĻāĻ°ā§, āĻāĻŦāĻ āĻāĻžāĻŦā§āĻ¯āĻŋāĻ āĻ¸ā§āĻ¨ā§āĻĻāĻ°ā§āĻ¯ā§ āĻ¤āĻŋāĻ¨āĻŋ āĻāĻŦāĻŋāĻ¤āĻžāĻ° āĻ¸ā§āĻāĻžāĻāĻ˛āĻā§ āĻŦā§āĻāĻžāĻ¨āĨ¤ āĻ¸ā§āĻ°āĻž āĻāĻžāĻŦā§āĻ¯āĻā§āĻ°āĻ¨ā§āĻĨā§āĻ° āĻŦāĻŋāĻˇāĻ¯āĻŧ āĻ¸āĻ¤ā§āĻ¯ āĻĻā§āĻŦāĻžāĻ°āĻž āĻāĻŋāĻšā§āĻ¨āĻŋāĻ¤ āĻāĻ°āĻž āĻšāĻ¯āĻŧā§āĻā§, āĻāĻŦāĻ āĻā§āĻ°ā§āĻ¤ā§āĻŦ āĻ¸āĻšāĻāĻžāĻ°ā§ āĻāĻāĻāĻŋ āĻ¨āĻŋāĻ°ā§āĻĻāĻŋāĻˇā§āĻ āĻĄāĻŋāĻā§āĻ°āĻŋ āĻĒāĻ°ā§āĻ¯āĻ¨ā§āĻ¤āĨ¤
High seriousness: The laws of the poetic truth and poetic beauty insist on the condition of âhigh seriousnessâ in poetry. This is the quality that gives poetry its power and strength. It comes from absolute sincerity that the poet feels for his subject. A poetâs sincerity consists in his speaking because when the readers can feel the sincerity of the poet about his subject matter, it is sure that he speaks from his very inmost soul. The quality of high seriousness is found in the poetry of Dante, Homer, and Milton. It is the power of sincerity that gives poets the power to interpret life properly.
āĻāĻā§āĻ āĻāĻŽā§āĻā§āĻ°āĻ¤āĻž
āĻāĻžāĻŦā§āĻ¯āĻŋāĻ āĻ¸āĻ¤ā§āĻ¯ āĻāĻŦāĻ āĻāĻžāĻŦā§āĻ¯āĻŋāĻ āĻ¸ā§āĻ¨ā§āĻĻāĻ°ā§āĻ¯ā§āĻ° āĻāĻāĻ¨āĻā§āĻ˛āĻŋ āĻāĻŦāĻŋāĻ¤āĻžāĻ¯āĻŧ “āĻāĻā§āĻ āĻāĻŽā§āĻā§āĻ°āĻ¤āĻžāĻ°” āĻ āĻŦāĻ¸ā§āĻĨāĻžāĻ° āĻāĻĒāĻ° āĻā§āĻ° āĻĻā§āĻ¯āĻŧāĨ¤ āĻāĻāĻŋ āĻ¸ā§āĻ āĻā§āĻŖ āĻ¯āĻž āĻāĻŦāĻŋāĻ¤āĻžāĻā§ āĻ¤āĻžāĻ° āĻļāĻā§āĻ¤āĻŋ āĻĻā§āĻ¯āĻŧāĨ¤ āĻāĻāĻŋ āĻĒāĻ°āĻŽ āĻāĻ¨ā§āĻ¤āĻ°āĻŋāĻāĻ¤āĻž āĻĨā§āĻā§ āĻāĻ¸ā§ āĻ¯āĻž āĻāĻŦāĻŋ āĻ¤āĻžāĻ° āĻŦāĻŋāĻˇāĻ¯āĻŧāĻāĻŋāĻ° āĻāĻ¨ā§āĻ¯ āĻ āĻ¨ā§āĻāĻŦ āĻāĻ°ā§āĻ¨āĨ¤ āĻāĻāĻāĻ¨ āĻāĻŦāĻŋāĻ° āĻāĻ¨ā§āĻ¤āĻ°āĻŋāĻāĻ¤āĻž āĻ¤āĻžāĻ° āĻŦāĻā§āĻ¤ā§āĻ¤āĻžāĻ¯āĻŧ āĻ āĻ¨ā§āĻ¤āĻ°ā§āĻā§āĻā§āĻ¤ āĻāĻžāĻ°āĻŖ āĻĒāĻžāĻ āĻāĻ°āĻž āĻ¯āĻāĻ¨ āĻ¤āĻžāĻāĻ° āĻŦāĻŋāĻˇāĻ¯āĻŧ āĻ¸āĻŽā§āĻĒāĻ°ā§āĻā§ āĻāĻŦāĻŋāĻ° āĻāĻ¨ā§āĻ¤āĻ°āĻŋāĻāĻ¤āĻž āĻ āĻ¨ā§āĻāĻŦ āĻāĻ°āĻ¤ā§ āĻĒāĻžāĻ°ā§āĻ¨, āĻāĻāĻž āĻ¨āĻŋāĻļā§āĻāĻŋāĻ¤ āĻ¯ā§ āĻ¸ā§ āĻ¤āĻžāĻ° āĻ āĻ¨ā§āĻ¤āĻ° āĻĨā§āĻā§ āĻāĻĨāĻž āĻŦāĻ˛ā§āĨ¤ āĻĻāĻžāĻ¨ā§āĻ¤ā§, āĻšā§āĻŽāĻžāĻ° āĻāĻŦāĻ āĻŽāĻŋāĻ˛ā§āĻāĻ¨ā§āĻ° āĻāĻŦāĻŋāĻ¤āĻžāĻ¯āĻŧ āĻāĻā§āĻ āĻāĻŽā§āĻā§āĻ°āĻ¤āĻžāĻ° āĻā§āĻŖāĻāĻŋ āĻĒāĻžāĻāĻ¯āĻŧāĻž āĻ¯āĻžāĻ¯āĻŧāĨ¤ āĻāĻāĻŋ āĻāĻ¨ā§āĻ¤āĻ°āĻŋāĻāĻ¤āĻžāĻ° āĻļāĻā§āĻ¤āĻŋ āĻ¯āĻž āĻāĻŦāĻŋāĻĻā§āĻ° āĻā§āĻŦāĻ¨āĻā§ āĻ¸āĻ āĻŋāĻāĻāĻžāĻŦā§ āĻŦā§āĻ¯āĻžāĻā§āĻ¯āĻž āĻāĻ°āĻžāĻ° āĻļāĻā§āĻ¤āĻŋ āĻĻā§āĻ¯āĻŧāĨ¤
Conclusion: To sum up, we can say that truth, high seriousness, a powerful application of ideas to life, absolute sincerity, excellence of diction, and movement in the matter of style are the essential requirements of great poetry. And we also understand that Matthew Arnold had a broad idea about criticism and poetry.
Introduction: The style is not mere decoration. It is rather a way of searching and explaining the truth. Its purpose is not to impress, but to express. Since Terry Eagleton is the most renowned critic of modern English literature, his critical writing has a number of prominent features.
āĻā§āĻŽāĻŋāĻāĻž: āĻļā§āĻ˛ā§ āĻ¨āĻŋāĻāĻ āĻ¸āĻžāĻāĻ¸āĻā§āĻāĻž āĻ¨āĻ¯āĻŧāĨ¤ āĻāĻāĻŋ āĻŦāĻ°āĻ āĻ¸āĻ¤ā§āĻ¯ āĻ āĻ¨ā§āĻ¸āĻ¨ā§āĻ§āĻžāĻ¨ āĻāĻŦāĻ āĻŦā§āĻ¯āĻžāĻā§āĻ¯āĻž āĻāĻ°āĻžāĻ° āĻāĻāĻāĻŋ āĻāĻĒāĻžāĻ¯āĻŧāĨ¤ āĻāĻ° āĻāĻĻā§āĻĻā§āĻļā§āĻ¯ āĻĒā§āĻ°āĻāĻžāĻŦāĻŋāĻ¤ āĻāĻ°āĻž āĻ¨āĻ¯āĻŧ, āĻŦāĻ°āĻ āĻĒā§āĻ°āĻāĻžāĻļ āĻāĻ°āĻžāĨ¤ āĻā§āĻ°āĻŋ āĻāĻāĻ˛ā§āĻāĻ¨ āĻ¯ā§āĻšā§āĻ¤ā§ āĻāĻ§ā§āĻ¨āĻŋāĻ āĻāĻāĻ°ā§āĻāĻŋ āĻ¸āĻžāĻšāĻŋāĻ¤ā§āĻ¯ā§āĻ° āĻ¸āĻ°ā§āĻŦāĻžāĻ§āĻŋāĻ āĻā§āĻ¯āĻžāĻ¤āĻŋāĻŽāĻžāĻ¨ āĻ¸āĻŽāĻžāĻ˛ā§āĻāĻ, āĻ¤āĻžāĻ āĻ¤āĻžāĻāĻ° āĻ¸āĻŽāĻžāĻ˛ā§āĻāĻ¨āĻž āĻ˛ā§āĻāĻžāĻ° āĻŦā§āĻļ āĻāĻ¯āĻŧā§āĻāĻāĻŋ āĻŦāĻŋāĻļāĻŋāĻˇā§āĻ āĻŦā§āĻļāĻŋāĻˇā§āĻā§āĻ¯ āĻ°āĻ¯āĻŧā§āĻā§āĨ¤
Dialectical style: One of the key features of Eagleton’s critical prose is the brilliant inverse logical style. He intelligently considers social and cultural conflicts and raises the opposing arguments so strongly in the conflict that they burst and suddenly some unexpected insight or vision is revealed.
āĻĻā§āĻŦāĻžāĻ¨ā§āĻĻā§āĻŦāĻŋāĻ āĻ¸ā§āĻāĻžāĻāĻ˛: āĻāĻāĻ˛ā§āĻāĻ¨ā§āĻ° āĻ¸āĻŽāĻžāĻ˛ā§āĻāĻ¨āĻžāĻŽā§āĻ˛āĻ āĻāĻĻā§āĻ¯ā§āĻ° āĻ āĻ¨ā§āĻ¯āĻ¤āĻŽ āĻŦā§āĻļāĻŋāĻˇā§āĻā§āĻ¯ āĻš’āĻ˛ āĻāĻā§āĻā§āĻŦāĻ˛ āĻŦāĻŋāĻĒāĻ°ā§āĻ¤ āĻ˛āĻāĻŋāĻā§āĻ¯āĻžāĻ˛ āĻ¸ā§āĻāĻžāĻāĻ˛āĨ¤ āĻ¤āĻŋāĻ¨āĻŋ āĻŦā§āĻĻā§āĻ§āĻŋāĻŽāĻžāĻ¨āĻāĻžāĻŦā§ āĻ¸āĻžāĻŽāĻžāĻāĻŋāĻ āĻāĻŦāĻ āĻ¸āĻžāĻāĻ¸ā§āĻā§āĻ¤āĻŋāĻ āĻĻā§āĻŦāĻ¨ā§āĻĻā§āĻŦāĻā§ āĻŦāĻŋāĻŦā§āĻāĻ¨āĻž āĻāĻ°ā§āĻ¨ āĻāĻŦāĻ āĻŦāĻŋāĻ°ā§āĻ§ā§āĻ° āĻĒāĻā§āĻˇā§ āĻ¯ā§āĻā§āĻ¤āĻŋ āĻāĻ¤āĻāĻž āĻĻā§āĻĄāĻŧ āĻ¤āĻžāĻ° āĻ¸āĻžāĻĨā§ āĻāĻ¤ā§āĻĨāĻžāĻĒāĻ¨ āĻāĻ°ā§āĻ¨ āĻ¯ā§ āĻ¤āĻžāĻ°āĻž āĻāĻŦāĻŋāĻ°ā§āĻāĻžāĻŦ āĻšāĻ¯āĻŧ āĻāĻŦāĻ āĻšāĻ āĻžā§ āĻāĻ°ā§ āĻāĻŋāĻā§ āĻ āĻĒā§āĻ°āĻ¤ā§āĻ¯āĻžāĻļāĻŋāĻ¤ āĻ āĻ¨ā§āĻ¤āĻ°ā§āĻĻā§āĻˇā§āĻāĻŋ āĻŦāĻž āĻĻā§āĻˇā§āĻāĻŋāĻāĻā§āĻāĻŋ āĻĒā§āĻ°āĻāĻžāĻļ āĻĒāĻžāĻ¯āĻŧāĨ¤
Lightening opacity: Absolute ambiguity is one of the most permanent and attractive qualities in Terry Eagletonâs writings. It has helped him to be one of the most colorful and controversial figures in cultural politics today. So, Eagletonâs style is unclear due to the riddle of the question. But whenever questions are solved, his idea shines. His âThe Rise of Englishâ is the paradigm of sheer audacity.
āĻāĻ˛ā§āĻāĻŋāĻ¤ āĻ āĻ¸ā§āĻŦāĻā§āĻāĻ¤āĻž
āĻ¸āĻŽā§āĻĒā§āĻ°ā§āĻŖ āĻ āĻ¸ā§āĻĒāĻˇā§āĻāĻ¤āĻž āĻā§āĻ°āĻŋ āĻāĻāĻ˛ā§āĻāĻ¨ā§āĻ° āĻ˛ā§āĻāĻžāĻā§āĻ˛āĻŋāĻ° āĻŽāĻ§ā§āĻ¯ā§ āĻ āĻ¨ā§āĻ¯āĻ¤āĻŽ āĻ¸ā§āĻĨāĻžāĻ¯āĻŧā§ āĻāĻŦāĻ āĻāĻāĻ°ā§āĻˇāĻŖā§āĻ¯āĻŧ āĻā§āĻŖāĨ¤ āĻāĻāĻŋ āĻ¤āĻžāĻā§ āĻ¸āĻžāĻāĻ¸ā§āĻā§āĻ¤āĻŋāĻ āĻ°āĻžāĻāĻ¨ā§āĻ¤āĻŋāĻ° āĻ āĻ¨ā§āĻ¯āĻ¤āĻŽ āĻŦāĻ°ā§āĻŖāĻŽāĻ¯āĻŧ āĻāĻŦāĻ āĻŦāĻŋāĻ¤āĻ°ā§āĻāĻŋāĻ¤ āĻŦā§āĻ¯āĻā§āĻ¤āĻŋāĻ¤ā§āĻŦ āĻšāĻ¤ā§ āĻ¸āĻžāĻšāĻžāĻ¯ā§āĻ¯ āĻāĻ°ā§āĻā§āĨ¤ āĻ¸ā§āĻ¤āĻ°āĻžāĻ, āĻĒā§āĻ°āĻļā§āĻ¨ā§āĻ° āĻ§āĻžāĻāĻ§āĻžāĻ° āĻāĻžāĻ°āĻŖā§ āĻāĻāĻ˛ā§āĻāĻ¨ā§āĻ° āĻ¸ā§āĻāĻžāĻāĻ˛ āĻ āĻ¸ā§āĻĒāĻˇā§āĻāĨ¤ āĻāĻŋāĻ¨ā§āĻ¤ā§ āĻ¯āĻāĻ¨āĻ āĻĒā§āĻ°āĻļā§āĻ¨āĻā§āĻ˛āĻŋāĻ° āĻ¸āĻŽāĻžāĻ§āĻžāĻ¨ āĻšāĻ¯āĻŧā§ āĻ¯āĻžāĻ¯āĻŧ , āĻ¤āĻžāĻ° āĻ§āĻžāĻ°āĻŖāĻžāĻāĻŋ āĻā§āĻŦāĻ˛āĻā§āĻŦāĻ˛ āĻāĻ°ā§āĨ¤ āĻ¤āĻžāĻāĻ° âāĻ°āĻžāĻāĻ¸ āĻ āĻĢ āĻāĻāĻ˛āĻŋāĻļâ āĻ¨āĻŋāĻāĻ āĻāĻ°āĻŽ āĻ āĻ¸ā§āĻĒāĻˇā§āĻāĻ¤āĻžāĻ° āĻĻā§āĻˇā§āĻāĻžāĻ¨ā§āĻ¤āĨ¤
Historical references: Eagleton is an outspoken critic his generation. His best-selling publication “Literary Theory: An Introduction” published in 1983 reflects the breadth of his theory of knowledge. In this book the second chapter entitled âThe Rise of Englishâ contains many historical references of literature.
āĻāĻ¤āĻŋāĻšāĻžāĻ¸āĻŋāĻ āĻ¤āĻĨā§āĻ¯āĻ¸ā§āĻ¤ā§āĻ°: āĻāĻāĻ˛āĻāĻ¨ āĻ¤āĻžāĻāĻ° āĻĒā§āĻ°āĻāĻ¨ā§āĻŽā§āĻ° āĻāĻāĻāĻŋ āĻ¸ā§āĻĒāĻˇā§āĻāĻŦāĻžāĻĻā§ āĻ¸āĻŽāĻžāĻ˛ā§āĻāĻāĨ¤ 1983 āĻ¸āĻžāĻ˛ā§ āĻĒā§āĻ°āĻāĻžāĻļāĻŋāĻ¤ āĻ¤āĻžāĻāĻ° āĻ¸āĻ°ā§āĻŦāĻžāĻ§āĻŋāĻ āĻŦāĻŋāĻā§āĻ°āĻŋāĻ¤ āĻŦāĻ “āĻ˛āĻŋāĻāĻžāĻ°āĻžāĻ°āĻŋ āĻĨāĻŋāĻāĻ°āĻŋ : āĻāĻ¨ āĻāĻ¨ā§āĻā§āĻ°ā§āĻĄāĻžāĻāĻļāĻ¨ ” āĻ¤āĻžāĻāĻ° āĻā§āĻāĻžāĻ¨ā§āĻ° āĻ¤āĻ¤ā§āĻ¤ā§āĻŦā§āĻ° āĻĒā§āĻ°āĻļāĻ¸ā§āĻ¤āĻ¤āĻž āĻĒā§āĻ°āĻ¤āĻŋāĻĢāĻ˛āĻŋāĻ¤ āĻāĻ°ā§āĨ¤ āĻāĻ āĻŦāĻāĻ¤ā§ “āĻ°āĻžāĻāĻ¸ āĻ āĻĢ āĻāĻāĻ˛āĻŋāĻļ” āĻĻā§āĻŦāĻŋāĻ¤ā§āĻ¯āĻŧ āĻ āĻ§ā§āĻ¯āĻžāĻ¯āĻŧā§āĻ° āĻ āĻ¨ā§āĻ¤āĻ°ā§āĻā§āĻā§āĻ¤ āĻ¸āĻžāĻšāĻŋāĻ¤ā§āĻ¯ā§āĻ° āĻ āĻ¨ā§āĻ āĻāĻ¤āĻŋāĻšāĻžāĻ¸āĻŋāĻ āĻ°ā§āĻĢāĻžāĻ°ā§āĻ¨ā§āĻ¸ āĻ°āĻ¯āĻŧā§āĻā§āĨ¤
Humor: Most of the reversal comments in âThe Rise of English” are humorous. In this work, Eagleton offers scathing assessments of various currents of criticism. While discussing the concept of value-judgement, he notes:
âNobody would bother to say that a bus ticket was an example of inferior literature, but someone might well say that the poetry of Ernest Dowson wasâ.
āĻā§āĻ¤ā§āĻāĻ°āĻ¸āĻŦā§āĻ§: “āĻĻā§āĻ¯ āĻ°āĻžāĻāĻ āĻ āĻŦ āĻāĻāĻ˛āĻŋāĻļ” -āĻ° āĻŦā§āĻļāĻŋāĻ°āĻāĻžāĻ āĻŦāĻŋāĻĒāĻ°ā§āĻ¤ āĻŽāĻ¨ā§āĻ¤āĻŦā§āĻ¯ āĻšāĻžāĻ¸ā§āĻ¯āĻāĻ°āĨ¤ āĻāĻ āĻ°āĻāĻ¨āĻžāĻ¯āĻŧ, āĻāĻāĻ˛āĻāĻ¨ āĻ¸āĻŽāĻžāĻ˛ā§āĻāĻ¨āĻžāĻ° āĻŦāĻŋāĻāĻŋāĻ¨ā§āĻ¨ āĻ¸ā§āĻ°ā§āĻ¤ā§āĻ° āĻŦāĻŋāĻļāĻĻ āĻŽā§āĻ˛ā§āĻ¯āĻžāĻ¯āĻŧāĻ¨ āĻĒā§āĻ°āĻĻāĻžāĻ¨ āĻāĻ°ā§, āĻŽā§āĻ˛ā§āĻ¯-āĻ°āĻžāĻ¯āĻŧ āĻ§āĻžāĻ°āĻŖāĻžāĻāĻŋ āĻ¨āĻŋāĻ¯āĻŧā§ āĻāĻ˛ā§āĻāĻ¨āĻžāĻ° āĻ¸āĻŽāĻ¯āĻŧ āĻ¤āĻŋāĻ¨āĻŋ āĻŽāĻ¨ā§āĻ¤āĻŦā§āĻ¯ āĻāĻ°ā§:
âāĻā§āĻāĻ āĻāĻāĻž āĻŦāĻ˛āĻžāĻ° āĻŽāĻžāĻĨāĻž āĻāĻžāĻŽāĻžāĻ¯āĻŧ āĻ¨āĻž āĻ¯ā§ āĻŦāĻžāĻ¸ā§āĻ° āĻāĻŋāĻāĻŋāĻ āĻ¨āĻŋāĻā§āĻˇā§āĻ āĻ¸āĻžāĻšāĻŋāĻ¤ā§āĻ¯ā§āĻ° āĻāĻĻāĻžāĻšāĻ°āĻŖ, āĻ¤āĻŦā§ āĻā§āĻ āĻšāĻ¯āĻŧāĻ¤ā§ āĻŦāĻ˛āĻ¤ā§ āĻĒāĻžāĻ°ā§āĻ¨ āĻ¯ā§ āĻāĻ°ā§āĻ¨ā§āĻ¸ā§āĻ āĻĄāĻāĻ¸āĻ¨ā§āĻ° āĻāĻŦāĻŋāĻ¤āĻž āĻ¨āĻŋāĻā§āĻˇā§āĻ āĻ¸āĻžāĻšāĻŋāĻ¤ā§āĻ¯ā§ āĻāĻŋāĻ˛”āĨ¤
The satirical reversal in argument: Another technique often employed by Eagleton is the Swift-like satirical reversal in the argument.
āĻ¯ā§āĻā§āĻ¤āĻŋāĻ¤ā§ āĻŦā§āĻ¯āĻā§āĻāĻžāĻ¤ā§āĻŽāĻ āĻŦāĻŋāĻĒāĻ°ā§āĻ¤: āĻāĻāĻ˛ā§āĻāĻ¨ā§āĻ° āĻŽāĻžāĻā§āĻŽāĻ§ā§āĻ¯ā§ āĻ¨āĻŋāĻ¯ā§āĻā§āĻ¤ āĻāĻ°ā§āĻāĻāĻŋ āĻā§āĻļāĻ˛ āĻš’āĻ˛ āĻ¯ā§āĻā§āĻ¤āĻŋ āĻ¸ā§āĻāĻĢāĻā§āĻ° āĻŽāĻ¤ā§ āĻ¯ā§āĻā§āĻ¤āĻŋāĻ¤ā§ āĻŦā§āĻ¯āĻā§āĻāĻžāĻ¤ā§āĻŽāĻ āĻŦāĻŋāĻĒāĻ°ā§āĻ¤ āĻŦāĻž āĻ¤āĻŋāĻ¨āĻŋ āĻ¸ā§āĻāĻĢāĻā§āĻ° āĻŽāĻ¤ā§ āĻŦāĻŋāĻĻā§āĻ°ā§āĻĒāĻāĻžāĻ°ā§ āĨ¤
Tiresome extent: Pointless is not the staple of Eagletonâs prose. In fact, his style is clearer than most of the formal methods. But long stretches of text can be tiring. In spite of the tedious limitations, there is something different in his prose that can regenerate the text and the readers separately independent, it means that his criticism works like a catalyst.
āĻā§āĻ˛āĻžāĻ¨ā§āĻ¤āĻŋāĻāĻ° āĻŦāĻŋāĻļāĻĻ
āĻ āĻ°ā§āĻĨāĻšā§āĻ¨ āĻš’āĻ˛ āĻāĻāĻ˛ā§āĻāĻ¨ā§āĻ° āĻāĻĻā§āĻ¯ā§āĻ° āĻŽā§āĻ˛ āĻ¨āĻ¯āĻŧāĨ¤ āĻāĻ¸āĻ˛ā§, āĻ¤āĻžāĻāĻ° āĻ°ā§āĻ¤āĻŋāĻāĻŋ āĻŦā§āĻļāĻŋāĻ°āĻāĻžāĻ āĻāĻ¨ā§āĻˇā§āĻ āĻžāĻ¨āĻŋāĻ āĻĒāĻĻā§āĻ§āĻ¤āĻŋāĻ° āĻā§āĻ¯āĻŧā§ āĻĒāĻ°āĻŋāĻˇā§āĻāĻžāĻ°āĨ¤ āĻ¤āĻŦā§ āĻĒāĻžāĻ ā§āĻ¯ā§āĻ° āĻĻā§āĻ°ā§āĻ āĻĒā§āĻ°āĻ¸āĻžāĻ° āĻā§āĻ˛āĻžāĻ¨ā§āĻ¤āĻŋāĻāĻ° āĻšāĻ¤ā§ āĻĒāĻžāĻ°ā§āĨ¤ āĻā§āĻ˛āĻžāĻ¨ā§āĻ¤āĻŋāĻāĻ° āĻ¸ā§āĻŽāĻžāĻŦāĻĻā§āĻ§āĻ¤āĻž āĻĨāĻžāĻāĻž āĻ¸āĻ¤ā§āĻ¤ā§āĻŦā§āĻ, āĻ¤āĻžāĻāĻ° āĻāĻĻā§āĻ¯ā§āĻ° āĻŽāĻ§ā§āĻ¯ā§ āĻāĻ˛āĻžāĻĻāĻž āĻāĻŋāĻā§ āĻ°āĻ¯āĻŧā§āĻā§ āĻ¯āĻž āĻĒāĻžāĻ ā§āĻ¯ āĻāĻŦāĻ āĻĒāĻžāĻ āĻāĻĻā§āĻ° āĻāĻ˛āĻžāĻĻāĻžāĻāĻžāĻŦā§ āĻ¸ā§āĻŦāĻžāĻ§ā§āĻ¨ āĻāĻ°āĻ¤ā§ āĻĒāĻžāĻ°ā§ āĻ āĻ°ā§āĻĨāĻžā§ āĻ¤āĻžāĻ° āĻ¸āĻŽāĻžāĻ˛ā§āĻāĻ¨āĻž āĻ¸āĻžāĻšāĻŋāĻ¤ā§āĻ¯ āĻā§āĻ¯āĻžāĻāĻžāĻ˛āĻŋāĻ¸ā§āĻ āĻšāĻŋāĻ¸āĻžāĻŦā§ āĻāĻžāĻ āĻāĻ°ā§ āĨ¤
Conclusion: Thus, writing in a style is accessible. Eagleton has specifically argued in the field of literary theory. His rhetorical skills are perhaps unequalled by contemporary critics. These are something that many critical theorists could benefit from studying.
āĻāĻĒāĻ¸āĻāĻšāĻžāĻ°: āĻāĻāĻāĻžāĻŦā§, āĻāĻāĻāĻŋ āĻ¸ā§āĻāĻžāĻāĻ˛ā§ āĻ˛ā§āĻāĻž āĻĒā§āĻ°āĻŦā§āĻļāĻ¯ā§āĻā§āĻ¯āĨ¤ āĻāĻāĻ˛āĻāĻ¨ āĻ¸āĻžāĻšāĻŋāĻ¤ā§āĻ¯ āĻ¤āĻ¤ā§āĻ¤ā§āĻŦā§āĻ° āĻā§āĻˇā§āĻ¤ā§āĻ°ā§ āĻŦāĻŋāĻļā§āĻˇāĻāĻžāĻŦā§ āĻ¯ā§āĻā§āĻ¤āĻŋ āĻĻā§āĻāĻŋāĻ¯āĻŧā§āĻā§āĻ¨āĨ¤ āĻ¤āĻžāĻāĻ° āĻ āĻ˛āĻā§āĻā§āĻ¤ āĻĻāĻā§āĻˇāĻ¤āĻž āĻ¸āĻŽā§āĻāĻŦāĻ¤ āĻ¸āĻŽāĻāĻžāĻ˛ā§āĻ¨ āĻ¸āĻŽāĻžāĻ˛ā§āĻāĻāĻĻā§āĻ° āĻāĻžāĻāĻ¤ā§ āĻ āĻ¨ā§āĻ āĻŦā§āĻļāĻŋ āĻā§āĻā§āĻˇā§āĻāĨ¤ āĻāĻā§āĻ˛āĻŋ āĻāĻŽāĻ¨ āĻāĻŋāĻā§ āĻ¯āĻž āĻ āĻ¨ā§āĻ āĻ¸āĻŽāĻžāĻ˛ā§āĻāĻ āĻ¤āĻžāĻ¤ā§āĻ¤ā§āĻŦāĻŋāĻāĻ°āĻž āĻ āĻ§ā§āĻ¯āĻ¯āĻŧāĻ¨ āĻāĻ°ā§ āĻāĻĒāĻā§āĻ¤ āĻšāĻ¤ā§ āĻĒāĻžāĻ°ā§āĨ¤
Or, what are the reasons for which Said has written âCulture and Imperialismâ?
Introduction: âCulture and Imperialismâ published in 1993 is a collection of essays by Edward Said (1935-2003). This was followed by his highly influential âOrientalismâ, published in 1978. In his series of essays, the author attempts to identify the connection between imperialism and culture in the 18th, 19th, and 20th centuries. In the “Introduction”, Mr. Said himself describes the reasons and resources for which he is going to write his internationally acclaimed book.
āĻā§āĻŽāĻŋāĻāĻž: ā§§ā§¯ā§¯ā§Š āĻ¸āĻžāĻ˛ā§ āĻĒā§āĻ°āĻāĻžāĻļāĻŋāĻ¤ “āĻ¸āĻāĻ¸ā§āĻā§āĻ¤āĻŋ āĻ āĻ¸āĻžāĻŽā§āĻ°āĻžāĻā§āĻ¯āĻŦāĻžāĻĻ” āĻ ā§āĻ¯āĻžāĻĄāĻāĻ¯āĻŧāĻžāĻ°ā§āĻĄ āĻ¸āĻžāĻāĻĻ (ā§§ā§¯ā§Šā§Ģ-ā§¨ā§Ļā§Ļā§Š) āĻ°āĻāĻ¨āĻž āĻ¸āĻāĻāĻ˛āĻ¨āĨ¤ āĻāĻāĻŋ āĻ¤āĻžāĻ° āĻ āĻ¤ā§āĻ¯āĻ¨ā§āĻ¤ āĻĒā§āĻ°āĻāĻžāĻŦāĻļāĻžāĻ˛ā§ “āĻĒā§āĻ°āĻžāĻā§āĻ¯āĻŦāĻžāĻĻ” āĻĻā§āĻŦāĻžāĻ°āĻž āĻ āĻ¨ā§āĻ¸āĻ°āĻŖ āĻāĻ°āĻž āĻšāĻ¯āĻŧā§āĻāĻŋāĻ˛, 1978 āĻ¸āĻžāĻ˛ā§ āĻĒā§āĻ°āĻāĻžāĻļāĻŋāĻ¤āĨ¤ āĻ¤āĻžāĻāĻ° āĻ°āĻāĻ¨āĻžāĻŽā§āĻ˛āĻ āĻ¸āĻŋāĻ°āĻŋāĻā§ āĻ˛ā§āĻāĻ 18 āĻ¤āĻŽ, 19 āĻāĻŦāĻ 20 āĻļāĻ¤āĻā§ āĻ¸āĻžāĻŽā§āĻ°āĻžāĻā§āĻ¯āĻŦāĻžāĻĻ āĻāĻŦāĻ āĻ¸āĻāĻ¸ā§āĻā§āĻ¤āĻŋāĻ° āĻŽāĻ§ā§āĻ¯ā§ āĻ¸āĻāĻ¯ā§āĻ āĻ¸āĻ¨āĻžāĻā§āĻ¤ āĻāĻ°āĻžāĻ° āĻā§āĻˇā§āĻāĻž āĻāĻ°ā§āĻā§āĻ¨āĨ¤ “āĻā§āĻŽāĻŋāĻāĻž” āĻ¤ā§, āĻŽāĻŋāĻ āĻ¸āĻžāĻāĻĻ āĻ¨āĻŋāĻā§āĻ āĻ¯ā§ āĻāĻžāĻ°āĻŖāĻā§āĻ˛āĻŋ āĻāĻŦāĻ āĻ¸āĻāĻ¸ā§āĻĨāĻžāĻ¨āĻā§āĻ˛āĻŋāĻ° āĻāĻ¨ā§āĻ¯ āĻ¤āĻžāĻāĻ° āĻāĻ¨ā§āĻ¤āĻ°ā§āĻāĻžāĻ¤āĻŋāĻāĻāĻžāĻŦā§ āĻĒā§āĻ°āĻļāĻāĻ¸āĻŋāĻ¤ āĻŦāĻāĻāĻŋ āĻ˛āĻŋāĻāĻ¤ā§ āĻāĻ˛ā§āĻā§āĻ¨ āĻ¤āĻž āĻŦāĻ°ā§āĻŖāĻ¨āĻž āĻāĻ°ā§āĻā§āĻ¨āĨ¤
Limitation of âOrientalismâ: In his internationally acclaimed book Orientalism, Edward Said suggests that a general essay on the relationship between culture and empire has not yet been written. He composes “Culture and Imperialism” as an attempt to expand the “logics” of orientalism in order to describe a more general pattern of relationship between the western imperialists and their overseas territories.
“āĻĒā§āĻ°āĻžāĻā§āĻ¯āĻŦāĻžāĻĻ” āĻāĻ° āĻ¸ā§āĻŽāĻžāĻŦāĻĻā§āĻ§āĻ¤āĻž: āĻ¤āĻžāĻāĻ° āĻāĻ¨ā§āĻ¤āĻ°ā§āĻāĻžāĻ¤āĻŋāĻāĻāĻžāĻŦā§ āĻĒā§āĻ°āĻļāĻāĻ¸āĻŋāĻ¤ āĻŦāĻ āĻāĻ°āĻŋāĻ¯āĻŧā§āĻ¨ā§āĻāĻžāĻ˛āĻŋāĻāĻŽā§, āĻāĻĄāĻāĻ¯āĻŧāĻžāĻ°ā§āĻĄ āĻ¸āĻžāĻāĻĻ āĻāĻā§āĻāĻŋāĻ¤ āĻĻā§āĻ¯āĻŧ āĻ¯ā§ āĻ¸āĻāĻ¸ā§āĻā§āĻ¤āĻŋ āĻāĻŦāĻ āĻ¸āĻžāĻŽā§āĻ°āĻžāĻā§āĻ¯ā§āĻ° āĻŽāĻ§ā§āĻ¯ā§ āĻ¸āĻŽā§āĻĒāĻ°ā§āĻā§āĻ° āĻāĻĒāĻ° āĻāĻāĻāĻŋ āĻ¸āĻžāĻ§āĻžāĻ°āĻŖ āĻ°āĻāĻ¨āĻž āĻāĻāĻ¨āĻ āĻ°āĻāĻ¨āĻž āĻāĻ°āĻž āĻšāĻ¯āĻŧāĻ¨āĻŋāĨ¤ āĻ¤āĻŋāĻ¨āĻŋ “āĻ¸āĻāĻ¸ā§āĻā§āĻ¤āĻŋ āĻāĻŦāĻ āĻ¸āĻžāĻŽā§āĻ°āĻžāĻā§āĻ¯āĻŦāĻžāĻĻ” āĻ°āĻāĻ¨āĻž āĻāĻ°ā§āĻā§āĻ¨ āĻĒā§āĻ°āĻžāĻā§āĻ¯āĻŦāĻžāĻĻā§āĻ° “āĻ˛āĻāĻŋāĻāĻ¸” āĻĒā§āĻ°āĻ¸āĻžāĻ°āĻŋāĻ¤ āĻāĻ°āĻžāĻ° āĻĒā§āĻ°āĻ¯āĻŧāĻžāĻ¸ āĻšāĻŋāĻ¸āĻžāĻŦā§ āĻ¸āĻŽā§āĻĒāĻ°ā§āĻā§āĻ° āĻāĻ°āĻ āĻ¸āĻžāĻ§āĻžāĻ°āĻŖ āĻĒā§āĻ¯āĻžāĻāĻžāĻ°ā§āĻ¨ āĻŦāĻ°ā§āĻŖāĻ¨āĻž āĻāĻ°āĻžāĻ° āĻāĻ¨ā§āĻ¯ āĻĒāĻļā§āĻāĻŋāĻŽāĻž āĻ¸āĻžāĻŽā§āĻ°āĻžāĻā§āĻ¯āĻŦāĻžāĻĻā§āĻĻā§āĻ° āĻāĻŦāĻ āĻ¤āĻžāĻĻā§āĻ° āĻŦāĻŋāĻĻā§āĻļā§āĻ° āĻ āĻā§āĻāĻ˛āĻā§āĻ˛āĻŋāĻ° āĻŽāĻ§ā§āĻ¯ā§āĨ¤
To expose the hidden meaning of culture: In order to point out the furtive two-fold facets of culture, Said writes “Culture and Imperialism”. According to him, culture means two things from the surface and inner perspectives.
āĻ¸āĻāĻ¸ā§āĻā§āĻ¤āĻŋāĻ° āĻā§āĻĒāĻ¨ āĻ āĻ°ā§āĻĨ āĻĒā§āĻ°āĻāĻžāĻļ āĻāĻ°āĻ¤ā§: āĻ¸āĻāĻ¸ā§āĻā§āĻ¤āĻŋāĻ° āĻĻā§āĻā§āĻŖāĻ¯ā§āĻā§āĻ¤ āĻĻāĻŋāĻāĻā§āĻ˛āĻŋ āĻāĻŋāĻšā§āĻ¨āĻŋāĻ¤ āĻāĻ°āĻžāĻ° āĻāĻ¨ā§āĻ¯, āĻ¸āĻžāĻāĻĻ āĻ˛āĻŋāĻā§āĻā§āĻ¨ “āĻ¸āĻāĻ¸ā§āĻā§āĻ¤āĻŋ āĻāĻŦāĻ āĻ¸āĻžāĻŽā§āĻ°āĻžāĻā§āĻ¯āĻŦāĻžāĻĻ”āĨ¤ āĻ¤āĻžāĻāĻ° āĻŽāĻ¤ā§ āĻ¸āĻāĻ¸ā§āĻā§āĻ¤āĻŋ āĻŽāĻžāĻ¨ā§ āĻĻā§āĻāĻŋ āĻāĻŋāĻ¨āĻŋāĻ¸ āĻĒā§āĻˇā§āĻ āĻāĻŦāĻ āĻ āĻā§āĻ¯āĻ¨ā§āĻ¤āĻ°ā§āĻŖ āĻĻā§āĻˇā§āĻāĻŋāĻā§āĻŖ āĻĨā§āĻā§āĨ¤
The secret strength of the imperialists: It is surprising and praiseworthy that Edward Said is the first mammoth critic who discovers the power of literature to sustain imperialism. Since literature is the mirror of society, he critically focuses on the French and English literature of the 19th and 20th which displayed the imperialistic experiences throughout the world but especially in Africa, India, Australia, the Caribbean, Ireland, Latin America.
āĻ¸āĻžāĻŽā§āĻ°āĻžāĻā§āĻ¯āĻŦāĻžāĻĻā§āĻĻā§āĻ° āĻā§āĻĒāĻ¨ āĻļāĻā§āĻ¤āĻŋ: āĻāĻāĻž āĻ āĻŦāĻžāĻ āĻāĻŦāĻ āĻĒā§āĻ°āĻļāĻāĻ¸āĻ¨ā§āĻ¯āĻŧ āĻ¯ā§ āĻāĻĄāĻāĻ¯āĻŧāĻžāĻ°ā§āĻĄ āĻ¸āĻžāĻāĻĻ āĻšāĻ˛ā§āĻ¨ āĻĒā§āĻ°āĻĨāĻŽ āĻŦāĻŋāĻļāĻžāĻ˛ āĻ¸āĻŽāĻžāĻ˛ā§āĻāĻ āĻ¯āĻŋāĻ¨āĻŋ āĻ¸āĻžāĻŽā§āĻ°āĻžāĻā§āĻ¯āĻŦāĻžāĻĻāĻā§ āĻāĻŋāĻāĻŋāĻ¯āĻŧā§ āĻ°āĻžāĻāĻ¤ā§ āĻ¸āĻžāĻšāĻŋāĻ¤ā§āĻ¯ā§āĻ° āĻļāĻā§āĻ¤āĻŋ āĻāĻŦāĻŋāĻˇā§āĻāĻžāĻ° āĻāĻ°ā§āĻāĻŋāĻ˛ā§āĻ¨āĨ¤ āĻ¸āĻžāĻšāĻŋāĻ¤ā§āĻ¯ āĻ¯ā§āĻšā§āĻ¤ā§ āĻ¸āĻŽāĻžāĻā§āĻ° āĻāĻ¯āĻŧāĻ¨āĻž, āĻ¤āĻžāĻ āĻ¤āĻŋāĻ¨āĻŋ āĻ¸āĻŽāĻžāĻ˛ā§āĻāĻāĻāĻžāĻŦā§ 19 āĻ 20 āĻ¤āĻŽ āĻĢāĻ°āĻžāĻ¸āĻŋ āĻāĻŦāĻ āĻāĻāĻ°ā§āĻāĻŋ āĻ¸āĻžāĻšāĻŋāĻ¤ā§āĻ¯ā§āĻ° āĻĻāĻŋāĻā§ āĻŽāĻ¨ā§āĻ¨āĻŋāĻŦā§āĻļ āĻāĻ°ā§āĻ¨ āĻ¯āĻž āĻŦāĻŋāĻļā§āĻŦāĻā§āĻĄāĻŧā§ āĻ¸āĻžāĻŽā§āĻ°āĻžāĻā§āĻ¯āĻŦāĻžāĻĻā§ āĻ āĻāĻŋāĻā§āĻāĻ¤āĻž āĻĒā§āĻ°āĻĻāĻ°ā§āĻļāĻ¨ āĻāĻ°ā§āĻāĻŋāĻ˛ āĻ¤āĻŦā§ āĻŦāĻŋāĻļā§āĻˇāĻ¤ āĻāĻĢā§āĻ°āĻŋāĻāĻž, āĻāĻžāĻ°āĻ¤, āĻ āĻ¸ā§āĻā§āĻ°ā§āĻ˛āĻŋāĻ¯āĻŧāĻž, āĻā§āĻ¯āĻžāĻ°āĻŋāĻŦāĻŋāĻ¯āĻŧāĻžāĻ¨, āĻāĻ¯āĻŧāĻžāĻ°āĻ˛ā§āĻ¯āĻžāĻ¨ā§āĻĄ, āĻ˛āĻžāĻ¤āĻŋāĻ¨ āĻāĻŽā§āĻ°āĻŋāĻāĻžāĨ¤
Ethical point of view: Being a humanitarian, Mr. Said was forced to formulate âCulture and Imperialismâ. He focuses on the challenges of imperialism and confidently declares that imperialism must always encounter resistance which creates conflict and destruction. So, he preaches that it is better to refrain than reign. And the people of the third world have to be well-conceived and united to establish peace and progress.
āĻ¨ā§āĻ¤āĻŋāĻ āĻĻā§āĻˇā§āĻāĻŋāĻāĻā§āĻāĻŋ
āĻŽāĻžāĻ¨āĻŦāĻŋāĻ āĻšāĻāĻ¯āĻŧāĻž, āĻāĻ¨āĻžāĻŦ āĻ¸āĻžāĻāĻĻ “āĻ¸āĻāĻ¸ā§āĻā§āĻ¤āĻŋ āĻāĻŦāĻ āĻ¸āĻžāĻŽā§āĻ°āĻžāĻā§āĻ¯āĻŦāĻžāĻĻ” āĻ˛āĻŋāĻāĻ¤ā§ āĻŦāĻžāĻ§ā§āĻ¯ āĻšāĻ¯āĻŧā§āĻāĻŋāĻ˛ā§āĻ¨āĨ¤ āĻ¤āĻŋāĻ¨āĻŋ āĻ¸āĻžāĻŽā§āĻ°āĻžāĻā§āĻ¯āĻŦāĻžāĻĻā§āĻ° āĻā§āĻ¯āĻžāĻ˛ā§āĻā§āĻāĻā§āĻ˛āĻŋāĻ¤ā§ āĻŽāĻ¨ā§āĻ¨āĻŋāĻŦā§āĻļ āĻāĻ°ā§āĻ¨ āĻāĻŦāĻ āĻāĻ¤ā§āĻŽāĻŦāĻŋāĻļā§āĻŦāĻžāĻ¸ā§āĻ° āĻ¸āĻžāĻĨā§ āĻāĻāĻŋ āĻā§āĻˇāĻŖāĻž āĻāĻ°ā§āĻ¨ āĻ¸āĻžāĻŽā§āĻ°āĻžāĻā§āĻ¯āĻŦāĻžāĻĻāĻā§ āĻ¸āĻ°ā§āĻŦāĻĻāĻž āĻĒā§āĻ°āĻ¤āĻŋāĻ°ā§āĻ§ā§āĻ° āĻŽā§āĻā§āĻŽā§āĻāĻŋ āĻšāĻ¤ā§ āĻšāĻŦā§ āĻ¯āĻž āĻĻā§āĻŦāĻ¨ā§āĻĻā§āĻŦ āĻ āĻ§ā§āĻŦāĻāĻ¸ āĻ¸ā§āĻˇā§āĻāĻŋ āĻāĻ°ā§āĨ¤ āĻ¸ā§āĻ¤āĻ°āĻžāĻ, āĻ¤āĻŋāĻ¨āĻŋ āĻĒā§āĻ°āĻāĻžāĻ° āĻāĻ°ā§āĻā§āĻ¨ āĻ¯ā§ āĻ°āĻžāĻāĻ¤ā§āĻŦā§āĻ° āĻā§āĻ¯āĻŧā§ āĻŦāĻŋāĻ°āĻ¤ āĻĨāĻžāĻāĻž āĻāĻžāĻ˛āĨ¤ āĻāĻŦāĻ āĻ¤ā§āĻ¤ā§āĻ¯āĻŧ āĻŦāĻŋāĻļā§āĻŦā§āĻ° āĻāĻ¨āĻāĻŖāĻā§ āĻļāĻžāĻ¨ā§āĻ¤āĻŋ āĻ āĻ āĻā§āĻ°āĻāĻ¤āĻŋ āĻĒā§āĻ°āĻ¤āĻŋāĻˇā§āĻ āĻžāĻ¯āĻŧ āĻ¸ā§-āĻāĻ˛ā§āĻĒāĻ¨āĻž āĻ āĻ¸āĻāĻšāĻ¤ āĻšāĻ¤ā§ āĻšāĻŦā§āĨ¤
Conclusion: In termination, it can be asserted though it is difficult to accept Edward Said starkly, it is undoubted that his critical power has brought about a revolution in the field of criticism. And one can get a vast vista of the secret sources of imperialism by reading his âCulture and Imperialismâ.
Introduction: Edward W. Said (1935-2003) is considered to be one of the illustrious critics and philosophers of late 20th century who has expounded the most critical concept in his collection of essays âIntroduction to Culture and Imperialismâ published in 1993 that there is a very subtle relationship between culture and imperialism. He looks into the relationship between culture and imperialism from a different angle as he has got different instruments of culture for imperialism.
āĻā§āĻŽāĻŋāĻāĻž: āĻāĻĄāĻāĻ¯āĻŧāĻžāĻ°ā§āĻĄ āĻĄāĻžāĻŦā§āĻ˛ā§ āĻ¸āĻžāĻāĻĻ (ā§§ā§¯ā§Šā§Ģ-ā§¨ā§Ļā§Ļā§Š) āĻŦāĻŋāĻļ āĻļāĻ¤āĻā§āĻ° āĻļā§āĻˇā§āĻ° āĻ āĻ¨ā§āĻ¯āĻ¤āĻŽ āĻŦāĻŋāĻļāĻŋāĻˇā§āĻ āĻ¸āĻŽāĻžāĻ˛ā§āĻāĻ āĻāĻŦāĻ āĻĻāĻžāĻ°ā§āĻļāĻ¨āĻŋāĻ āĻšāĻŋāĻ¸āĻžāĻŦā§ āĻŦāĻŋāĻŦā§āĻāĻŋāĻ¤ āĻ¯āĻž āĻ¤āĻŋāĻ¨āĻŋ ā§§ā§¯ā§¯ā§Š āĻ¸āĻžāĻ˛ā§ āĻĒā§āĻ°āĻāĻžāĻļāĻŋāĻ¤ âāĻ¸āĻāĻ¸ā§āĻā§āĻ¤āĻŋ āĻ āĻ¸āĻžāĻŽā§āĻ°āĻžāĻā§āĻ¯āĻŦāĻžāĻĻā§āĻ° āĻĒāĻ°āĻŋāĻāĻ¯āĻŧâ āĻ°āĻāĻ¨āĻžāĻŽā§āĻ˛āĻ āĻ¸āĻāĻāĻ˛āĻ¨ā§ āĻ¸āĻŦāĻā§āĻ¯āĻŧā§ āĻ¸āĻŽāĻžāĻ˛ā§āĻāĻ¨āĻžāĻŽā§āĻ˛āĻ āĻ§āĻžāĻ°āĻŖāĻžāĻāĻŋ āĻŦā§āĻ¯āĻžāĻā§āĻ¯āĻž āĻāĻ°ā§āĻā§āĻ¨āĨ¤ āĻ¸āĻāĻ¸ā§āĻā§āĻ¤āĻŋ āĻāĻŦāĻ āĻ¸āĻžāĻŽā§āĻ°āĻžāĻā§āĻ¯āĻŦāĻžāĻĻā§āĻ° āĻŽāĻ§ā§āĻ¯ā§ āĻāĻāĻāĻŋ āĻā§āĻŦ āĻ¸ā§āĻā§āĻˇā§āĻŽ āĻ¸āĻŽā§āĻĒāĻ°ā§āĻāĨ¤ āĻ¤āĻŋāĻ¨āĻŋ āĻ¸āĻžāĻŽā§āĻ°āĻžāĻā§āĻ¯āĻŦāĻžāĻĻā§āĻ° āĻāĻ¨ā§āĻ¯ āĻ¸āĻāĻ¸ā§āĻā§āĻ¤āĻŋāĻ° āĻŦāĻŋāĻāĻŋāĻ¨ā§āĻ¨ āĻāĻĒāĻāĻ°āĻŖ āĻĒā§āĻ¯āĻŧā§āĻā§āĻ¨ āĻŦāĻ˛ā§ āĻ¸āĻāĻ¸ā§āĻā§āĻ¤āĻŋ āĻāĻŦāĻ āĻ¸āĻžāĻŽā§āĻ°āĻžāĻā§āĻ¯āĻŦāĻžāĻĻā§āĻ° āĻŽāĻ§ā§āĻ¯ā§ āĻ¸āĻŽā§āĻĒāĻ°ā§āĻā§āĻ° āĻŦāĻŋāĻˇāĻ¯āĻŧāĻāĻŋ āĻ āĻ¨ā§āĻ¯ āĻāĻāĻāĻŋ āĻā§āĻŖ āĻĨā§āĻā§ āĻĻā§āĻā§āĻ¨āĨ¤
Fragile culture of the natives: At the very outset of the essay Said says that the culture of the third world is very fragile which was the strength of the imperialists. The imperialists always left contest among the natives. Said considers that supine or inert natives were the main strength of the imperialists.
āĻ¸ā§āĻĨāĻžāĻ¨ā§āĻ¯āĻŧāĻĻā§āĻ° āĻ¨āĻžāĻā§āĻ āĻ¸āĻāĻ¸ā§āĻā§āĻ¤āĻŋ: āĻ°āĻāĻ¨āĻžāĻāĻŋāĻ° āĻāĻā§āĻŦāĻžāĻ°ā§ āĻļā§āĻ°ā§āĻ¤ā§ āĻ¸āĻžāĻāĻĻ āĻŦāĻ˛ā§ āĻ¯ā§ āĻ¤ā§āĻ¤ā§āĻ¯āĻŧ āĻŦāĻŋāĻļā§āĻŦā§āĻ° āĻ¸āĻāĻ¸ā§āĻā§āĻ¤āĻŋ āĻ āĻ¤ā§āĻ¯āĻ¨ā§āĻ¤ āĻ¨āĻžāĻā§āĻ āĻ¯āĻž āĻāĻŋāĻ˛ āĻ¸āĻžāĻŽā§āĻ°āĻžāĻā§āĻ¯āĻŦāĻžāĻĻā§āĻĻā§āĻ° āĻļāĻā§āĻ¤āĻŋāĨ¤ āĻ¸āĻžāĻŽā§āĻ°āĻžāĻā§āĻ¯āĻŦāĻžāĻĻā§āĻ°āĻž āĻ¸āĻ°ā§āĻŦāĻĻāĻž āĻ¸ā§āĻĨāĻžāĻ¨ā§āĻ¯āĻŧāĻĻā§āĻ° āĻŽāĻ§ā§āĻ¯ā§ āĻĒā§āĻ°āĻ¤āĻŋāĻ¯ā§āĻāĻŋāĻ¤āĻž āĻā§āĻĄāĻŧā§ āĻĻā§āĻ¯āĻŧāĨ¤ āĻ¤āĻŋāĻ¨āĻŋ āĻŦāĻŋāĻŦā§āĻāĻ¨āĻž āĻāĻ°ā§āĻ¨ āĻ¯ā§ āĻāĻĄāĻŧ āĻĻā§āĻļā§āĻ¯āĻŧāĻ°āĻž āĻāĻŋāĻ˛ āĻ¸āĻžāĻŽā§āĻ°āĻžāĻā§āĻ¯āĻŦāĻžāĻĻā§āĻĻā§āĻ° āĻĒā§āĻ°āĻ§āĻžāĻ¨ āĻļāĻā§āĻ¤āĻŋāĨ¤
Ethical power of culture: The imperialists of Britain and France were the so-called light-bearers and makers of civilization. They went to spread the light of education and religion that was not only so-called but also namely to make the people of overseas colonies fool. In Saidâs analysis, the search of trade and commerce and civilizing missions in India and Africa provided an ethical power to the colonialists but they went to the countries for looting and dominating.
âCulture conceived in this way can become a protective enclosure:
check your politics at the door before you enter it.â
āĻ¸āĻāĻ¸ā§āĻā§āĻ¤āĻŋāĻ° āĻ¨ā§āĻ¤āĻŋāĻ āĻļāĻā§āĻ¤āĻŋ
āĻŦā§āĻ°āĻŋāĻā§āĻ¨ āĻāĻŦāĻ āĻĢā§āĻ°āĻžāĻ¨ā§āĻ¸ā§āĻ° āĻ¸āĻžāĻŽā§āĻ°āĻžāĻā§āĻ¯āĻŦāĻžāĻĻā§āĻ°āĻž āĻ¤āĻĨāĻžāĻāĻĨāĻŋāĻ¤ āĻāĻ˛ā§āĻ āĻŦāĻšāĻ¨āĻāĻžāĻ°ā§ āĻāĻŦāĻ āĻ¸āĻā§āĻ¯āĻ¤āĻžāĻ° āĻ¨āĻŋāĻ°ā§āĻŽāĻžāĻ¤āĻž āĻŦāĻ˛āĻž āĻšāĻ¤āĨ¤ āĻ¤āĻžāĻ°āĻž āĻļāĻŋāĻā§āĻˇāĻž āĻāĻŦāĻ āĻ§āĻ°ā§āĻŽā§āĻ° āĻāĻ˛ā§ āĻāĻĄāĻŧāĻŋāĻ¯āĻŧā§ āĻĻāĻŋāĻ¤ā§ āĻāĻŋāĻ¯āĻŧā§āĻāĻŋāĻ˛ āĻ¯āĻž āĻā§āĻŦāĻ˛ āĻ¤āĻĨāĻžāĻāĻĨāĻŋāĻ¤ āĻ¨āĻ¯āĻŧ āĻŦāĻ°āĻ āĻŦāĻŋāĻĻā§āĻļā§ āĻāĻĒāĻ¨āĻŋāĻŦā§āĻļā§āĻ° āĻ˛ā§āĻāĻĻā§āĻ° āĻŦā§āĻāĻž āĻŦāĻžāĻ¨āĻžāĻ¨ā§āĻ° āĻāĻĻā§āĻĻā§āĻļā§āĻ¯ā§ āĻ¤ā§āĻ°āĻŋ āĻāĻ°ā§āĻāĻŋāĻ˛āĨ¤ āĻ¸āĻžāĻāĻĻā§āĻ° āĻŦāĻŋāĻļā§āĻ˛ā§āĻˇāĻŖā§, āĻāĻžāĻ°āĻ¤ āĻ āĻāĻĢā§āĻ°āĻŋāĻāĻžāĻ° āĻŦāĻžāĻŖāĻŋāĻā§āĻ¯ āĻāĻŦāĻ āĻ¸āĻā§āĻ¯ āĻŽāĻŋāĻļāĻ¨ā§āĻ° āĻ āĻ¨ā§āĻ¸āĻ¨ā§āĻ§āĻžāĻ¨āĻā§āĻ˛āĻŋ āĻāĻĒāĻ¨āĻŋāĻŦā§āĻļāĻŦāĻžāĻĻā§āĻĻā§āĻ° āĻāĻāĻāĻŋ āĻ¨ā§āĻ¤āĻŋāĻ āĻļāĻā§āĻ¤āĻŋ āĻĒā§āĻ°āĻĻāĻžāĻ¨ āĻāĻ°ā§āĻāĻŋāĻ˛ āĻāĻŋāĻ¨ā§āĻ¤ā§ āĻ¤āĻžāĻ°āĻž āĻ˛ā§āĻāĻĒāĻžāĻ āĻāĻŦāĻ āĻāĻ§āĻŋāĻĒāĻ¤ā§āĻ¯ā§āĻ° āĻāĻ¨ā§āĻ¯ āĻĻā§āĻļāĻā§āĻ˛āĻŋāĻ¤ā§ āĻāĻŋāĻ¯āĻŧā§āĻāĻŋāĻ˛āĨ¤
âāĻāĻāĻāĻžāĻŦā§ āĻāĻ˛ā§āĻĒāĻ¨āĻž āĻāĻ°āĻž āĻ¸āĻāĻ¸ā§āĻā§āĻ¤āĻŋ āĻāĻāĻāĻŋ āĻĒā§āĻ°āĻ¤āĻŋāĻ°āĻā§āĻˇāĻžāĻŽā§āĻ˛āĻ āĻā§āĻ°ā§ āĻĒāĻ°āĻŋāĻŖāĻ¤ āĻšāĻ¤ā§ āĻĒāĻžāĻ°ā§: āĻāĻĒāĻ¨āĻžāĻ° āĻ°āĻžāĻāĻ¨ā§āĻ¤āĻŋ āĻĻā§āĻŦāĻžāĻ°ā§ āĻĻā§āĻŦāĻžāĻ°ā§ āĻĒāĻ°ā§āĻā§āĻˇāĻž āĻāĻ°ā§āĻ¨ āĻĒā§āĻ°āĻŦā§āĻļ āĻāĻ°āĻžāĻ° āĻāĻā§āĨ¤ “
Literature as an institution of culture: It is universally accepted that literature is the mirror of society. Said opines through poetry, fiction, and philosophy teach how to practice and venerate culture, they discourse colonialism in an indirectly deep way. As a result, most professional humanists have been unable to connect between the prolonged practice of imperialism and the culture of literature. Here in this essay, Said especially talks about narrative fiction, novels, which play a vital role in the expansion of imperialism in the camouflage of culture.
āĻ¸āĻāĻ¸ā§āĻā§āĻ¤āĻŋāĻ° āĻāĻāĻāĻŋ āĻĒā§āĻ°āĻ¤āĻŋāĻˇā§āĻ āĻžāĻ¨ āĻšāĻŋāĻ¸āĻžāĻŦā§ āĻ¸āĻžāĻšāĻŋāĻ¤ā§āĻ¯
āĻāĻāĻž āĻ¸āĻ°ā§āĻŦāĻāĻ¨āĻ¸ā§āĻŦā§āĻā§āĻ¤ āĻ¯ā§ āĻ¸āĻžāĻšāĻŋāĻ¤ā§āĻ¯āĻ āĻ¸āĻŽāĻžāĻā§āĻ° āĻāĻ¯āĻŧāĻ¨āĻžāĨ¤ āĻ¤āĻŋāĻ¨āĻŋ āĻĒā§āĻ°āĻāĻžāĻļ āĻāĻ°ā§āĻā§āĻ¨ āĻ¯āĻĻāĻŋāĻ āĻāĻŦāĻŋāĻ¤āĻž, āĻāĻ˛ā§āĻĒāĻāĻžāĻšāĻŋāĻ¨ā§ āĻāĻŦāĻ āĻĻāĻ°ā§āĻļāĻ¨ āĻ¸āĻāĻ¸ā§āĻā§āĻ¤āĻŋ āĻāĻ°ā§āĻāĻž āĻ āĻļā§āĻ°āĻĻā§āĻ§āĻž āĻāĻ°āĻ¤ā§ āĻļā§āĻāĻžāĻ¯āĻŧ, āĻ¤āĻžāĻ°āĻž āĻāĻĒāĻ¨āĻŋāĻŦā§āĻļāĻŦāĻžāĻĻāĻā§ āĻĒāĻ°ā§āĻā§āĻˇāĻāĻžāĻŦā§ āĻāĻā§āĻ° āĻāĻĒāĻžāĻ¯āĻŧā§ āĻāĻ˛ā§āĻāĻ¨āĻž āĻāĻ°ā§āĨ¤ āĻĢāĻ˛āĻ¸ā§āĻŦāĻ°ā§āĻĒ, āĻŦā§āĻļāĻŋāĻ°āĻāĻžāĻ āĻĒā§āĻļāĻžāĻĻāĻžāĻ° āĻŽāĻžāĻ¨āĻŦāĻ¤āĻžāĻŦāĻžāĻĻā§āĻ°āĻž āĻĻā§āĻ°ā§āĻāĻāĻžāĻ˛ āĻ¸āĻžāĻŽā§āĻ°āĻžāĻā§āĻ¯āĻŦāĻžāĻĻā§āĻ° āĻāĻ°ā§āĻāĻž āĻāĻŦāĻ āĻ¸āĻžāĻšāĻŋāĻ¤ā§āĻ¯ā§āĻ° āĻ¸āĻāĻ¸ā§āĻā§āĻ¤āĻŋāĻ° āĻŽāĻ§ā§āĻ¯ā§ āĻ¸āĻāĻ¯ā§āĻ āĻ°āĻžāĻāĻ¤ā§ āĻ āĻā§āĻˇāĻŽ āĻšāĻ¯āĻŧā§āĻā§āĻ¨āĨ¤ āĻāĻāĻžāĻ¨ā§ āĻāĻ āĻĒā§āĻ°āĻŦāĻ¨ā§āĻ§ā§ āĻ¸ā§āĻ¯āĻŧāĻĻ āĻŦāĻŋāĻļā§āĻˇāĻ¤ āĻŦāĻ°ā§āĻŖāĻ¨āĻžāĻŽā§āĻ˛āĻ āĻāĻ˛ā§āĻĒāĻāĻžāĻšāĻŋāĻ¨ā§, āĻāĻĒāĻ¨ā§āĻ¯āĻžāĻ¸ āĻ¸āĻŽā§āĻĒāĻ°ā§āĻā§ āĻāĻĨāĻž āĻŦāĻ˛ā§āĻā§āĻ¨ āĻ¯āĻž āĻ¸āĻāĻ¸ā§āĻā§āĻ¤āĻŋāĻ° āĻāĻĻā§āĻŽāĻŦā§āĻļā§ āĻ¸āĻžāĻŽā§āĻ°āĻžāĻā§āĻ¯āĻŦāĻžāĻĻā§āĻ° āĻĒā§āĻ°āĻ¸āĻžāĻ°ā§āĻ° āĻāĻ¨ā§āĻ¯ āĻā§āĻ°ā§āĻ¤ā§āĻŦāĻĒā§āĻ°ā§āĻŖ āĻā§āĻŽāĻŋāĻāĻž āĻĒāĻžāĻ˛āĻ¨ āĻāĻ°ā§āĨ¤
Immigrating culture: Immigrating culture is an instrument of post-colonial capitalism. Edward Said relates that imperialism exists even in the 20th century but not in the shape of the 18th and 19th centuries because in fine of the essay he asserts:
âThis is a book about past and present, about us and them.â
āĻ¸āĻāĻ¸ā§āĻā§āĻ¤āĻŋ āĻ āĻāĻŋāĻŦāĻžāĻ¸āĻ¨
āĻāĻĒāĻ¨āĻŋāĻŦā§āĻļāĻŋāĻ āĻĒā§āĻāĻāĻŋāĻŦāĻžāĻĻā§āĻ° āĻāĻāĻāĻŋ āĻāĻĒāĻāĻ°āĻŖ āĻšāĻŋāĻāĻ°āĻ¤ āĻ¸āĻāĻ¸ā§āĻā§āĻ¤āĻŋāĨ¤ āĻāĻĄāĻāĻ¯āĻŧāĻžāĻ°ā§āĻĄ āĻ¸āĻžāĻāĻĻ āĻŦāĻ°ā§āĻŖāĻ¨āĻž āĻāĻ°ā§āĻā§āĻ¨ āĻ¯ā§ āĻ¸āĻžāĻŽā§āĻ°āĻžāĻā§āĻ¯āĻŦāĻžāĻĻ āĻŦāĻŋāĻāĻļ āĻļāĻ¤āĻžāĻŦā§āĻĻā§āĻ¤ā§āĻ āĻŦāĻŋāĻĻā§āĻ¯āĻŽāĻžāĻ¨ āĻ¤āĻŦā§ 18 āĻāĻŦāĻ 19 āĻļāĻ¤āĻā§āĻ° āĻāĻāĻžāĻ°ā§ āĻ¨āĻ¯āĻŧ āĻāĻžāĻ°āĻŖ āĻĒā§āĻ°āĻŦāĻ¨ā§āĻ§ā§āĻ° āĻļā§āĻˇā§ āĻ¤āĻŋāĻ¨āĻŋ āĻĻā§āĻĄāĻŧāĻāĻžāĻŦā§ āĻŦāĻ˛ā§āĻā§āĻ¨:
“āĻāĻāĻŋ āĻāĻŽāĻžāĻĻā§āĻ° āĻāĻŦāĻ āĻ¤āĻžāĻĻā§āĻ° āĻ¸āĻŽā§āĻĒāĻ°ā§āĻā§ āĻ āĻ¤ā§āĻ¤ āĻ āĻŦāĻ°ā§āĻ¤āĻŽāĻžāĻ¨ āĻ¸āĻŽā§āĻĒāĻ°ā§āĻā§ āĻāĻāĻāĻŋ āĻŦāĻâ
Conclusion: To sum up, Edward Said is such a genius who reveals the secret of improved culture as the instrument of imperialism and capitalism in a convincing and fabulous way so that the countries of this universe can enjoy freedom and sovereignty being aware of the culture.
Introduction: As Eliot fixes the goal that he will abolish all the overdone misconceptions about the metaphysical school of poetry, he introduces a new term in his essay that is known as âreflective and intellectual poetâ. He distinguishes between the intellectual poet and the reflective poet in his famous critical essay âThe Metaphysical Poetsâ to declare the superiority of the metaphysical poets.
āĻā§āĻŽāĻŋāĻāĻž: āĻāĻ˛āĻŋāĻ¯āĻŧāĻ āĻ¯ā§āĻšā§āĻ¤ā§ āĻāĻ āĻ˛āĻā§āĻˇā§āĻ¯ āĻ¸ā§āĻĨāĻŋāĻ° āĻāĻ°ā§āĻā§āĻ¨ āĻ¯ā§ āĻ¤āĻŋāĻ¨āĻŋ āĻāĻŦāĻŋāĻ¤āĻžāĻ° āĻ āĻ§āĻŋāĻŦāĻŋāĻĻā§āĻ¯āĻžāĻŽā§āĻ˛āĻ āĻŦāĻŋāĻĻā§āĻ¯āĻžāĻ˛āĻ¯āĻŧ āĻ¸āĻŽā§āĻĒāĻ°ā§āĻā§ āĻ¸āĻŽāĻ¸ā§āĻ¤ āĻ āĻ¤āĻŋāĻā§āĻ°āĻˇā§āĻ āĻ§āĻžāĻ°āĻŖāĻž āĻŦāĻžāĻ¤āĻŋāĻ˛ āĻāĻ°āĻŦā§āĻ¨, āĻ¤āĻžāĻ āĻ¤āĻŋāĻ¨āĻŋ āĻ¤āĻžāĻāĻ° āĻ°āĻāĻ¨āĻžāĻ¯āĻŧ āĻāĻāĻāĻŋ āĻ¨āĻ¤ā§āĻ¨ āĻļāĻŦā§āĻĻ āĻĒā§āĻ°āĻŦāĻ°ā§āĻ¤āĻ¨ āĻāĻ°ā§āĻā§āĻ¨ āĻ¯āĻž âāĻĒā§āĻ°āĻ¤āĻŋāĻŦāĻŋāĻŽā§āĻŦāĻŋāĻ¤ āĻ āĻŦā§āĻĻā§āĻ§āĻŋāĻ āĻāĻŦāĻŋâ āĻ¨āĻžāĻŽā§ āĻĒāĻ°āĻŋāĻāĻŋāĻ¤āĨ¤ āĻ¤āĻŋāĻ¨āĻŋ āĻāĻ§ā§āĻ¯āĻžāĻ¤ā§āĻŽāĻŋāĻ āĻāĻŦāĻŋāĻĻā§āĻ° āĻļā§āĻ°ā§āĻˇā§āĻ āĻ¤ā§āĻŦ āĻā§āĻˇāĻŖāĻž āĻāĻ°āĻžāĻ° āĻāĻ¨ā§āĻ¯ āĻ¤āĻžāĻāĻ° āĻŦāĻŋāĻā§āĻ¯āĻžāĻ¤ āĻ¸āĻŽāĻžāĻ˛ā§āĻāĻ āĻĒā§āĻ°āĻŦāĻ¨ā§āĻ§ âāĻĻā§āĻ¯ āĻŽā§āĻāĻŋāĻĢāĻŋāĻāĻŋāĻāĻžāĻ˛ āĻĒā§āĻ¯āĻŧā§āĻâ -āĻ āĻŦā§āĻĻā§āĻ§āĻŋāĻā§āĻŦā§ āĻāĻŦāĻŋ āĻāĻŦāĻ āĻĒā§āĻ°āĻ¤āĻŋāĻŦāĻŋāĻŽā§āĻŦāĻŋāĻ¤ āĻāĻŦāĻŋāĻ° āĻŽāĻ§ā§āĻ¯ā§ āĻĒāĻžāĻ°ā§āĻĨāĻā§āĻ¯ āĻāĻ°ā§āĻā§āĻ¨āĨ¤
Definition: Eliot clearly defines that the poets who are passionate thinkers are called intellectual poets. To put it differently, the metaphysical poets are intellectual poets. But the poets who are deeply thoughtful but separated from passion and emotion are called reflective poets.
āĻ¸āĻāĻā§āĻāĻž: āĻāĻ˛āĻŋāĻ¯āĻŧāĻ āĻ¸ā§āĻĒāĻˇā§āĻāĻāĻžāĻŦā§ āĻ¸āĻāĻā§āĻāĻžāĻ¯āĻŧāĻŋāĻ¤ āĻāĻ°ā§āĻā§āĻ¨ āĻ¯ā§ āĻ āĻ¨ā§āĻ°āĻžāĻā§ āĻāĻŋāĻ¨ā§āĻ¤āĻžāĻŦāĻŋāĻĻ āĻāĻŦāĻŋāĻĻā§āĻ°āĻā§ āĻŦā§āĻĻā§āĻ§āĻŋāĻā§āĻŦā§ āĻāĻŦāĻŋ āĻŦāĻ˛āĻž āĻšāĻ¯āĻŧāĨ¤ āĻāĻā§ āĻ āĻ¨ā§āĻ¯āĻāĻžāĻŦā§ āĻŦāĻ˛āĻ¤ā§ āĻā§āĻ˛ā§ āĻ°ā§āĻĒāĻ āĻāĻŦāĻŋāĻ°āĻž āĻšāĻ˛ā§āĻ¨ āĻŦā§āĻĻā§āĻ§āĻŋāĻā§āĻŦā§ āĻāĻŦāĻŋāĨ¤ āĻ¤āĻŦā§ āĻāĻā§āĻ°āĻāĻžāĻŦā§ āĻāĻŋāĻ¨ā§āĻ¤āĻžāĻļā§āĻ˛ āĻāĻŋāĻ¨ā§āĻ¤ā§ āĻāĻŦā§āĻ āĻĨā§āĻā§ āĻŦāĻŋāĻā§āĻāĻŋāĻ¨ā§āĻ¨ āĻāĻŦāĻŋāĻĻā§āĻ° āĻĒā§āĻ°āĻ¤āĻŋāĻŦāĻŋāĻŽā§āĻŦāĻŋāĻ¤ āĻāĻŦāĻŋ āĻŦāĻ˛āĻž āĻšāĻ¯āĻŧāĨ¤
Versification technique: Eliot deeply suggests that the metaphysical poets have achieved their versification technique from their predecessors of sixteenth-century dramatists who were the master of âmechanism of sensibilityâ. On the other hand, the reflective poets especially Tennyson and Browning as a writer of dramatic monologue are the followers of the intellectual poets.
āĻāĻŦāĻŋāĻ¤āĻž āĻ°āĻāĻ¨āĻžāĻ° āĻā§āĻļāĻ˛: āĻāĻ˛āĻŋāĻ¯āĻŧāĻ āĻāĻā§āĻ°āĻāĻžāĻŦā§ āĻāĻā§āĻāĻŋāĻ¤ āĻĻā§āĻ¯āĻŧ āĻ¯ā§ āĻ°ā§āĻĒāĻ āĻāĻŦāĻŋāĻ°āĻž āĻ¤āĻžāĻĻā§āĻ° āĻāĻŦāĻŋāĻ¤āĻž āĻ°āĻāĻ¨āĻžāĻ° āĻā§āĻļāĻ˛ āĻ¤āĻžāĻĻā§āĻ° āĻˇā§āĻĄāĻŧāĻļ āĻļāĻ¤āĻžāĻŦā§āĻĻā§āĻ° āĻĒā§āĻ°ā§āĻŦāĻ¸ā§āĻ°ā§ āĻ¨āĻžāĻā§āĻ¯āĻāĻžāĻ°āĻĻā§āĻ° āĻāĻžāĻ āĻĨā§āĻā§ āĻ āĻ°ā§āĻāĻ¨ āĻāĻ°ā§āĻā§āĻ¨ āĻ¯āĻžāĻ°āĻž âāĻ¸āĻāĻŦā§āĻĻāĻ¨āĻļā§āĻ˛āĻ¤āĻžāĻ° āĻāĻ°ā§āĻ¤āĻž āĻāĻŋāĻ˛ā§āĻ¨āĨ¤ āĻ āĻ¨ā§āĻ¯āĻĻāĻŋāĻā§ āĻĒā§āĻ°āĻ¤āĻŋāĻŦāĻŋāĻŽā§āĻŦāĻŋāĻ¤ āĻāĻŦāĻŋāĻ°āĻž āĻŦāĻŋāĻļā§āĻˇāĻ¤ āĻā§āĻ¨āĻŋāĻ¸āĻ¨ āĻāĻŦāĻ āĻŦā§āĻ°āĻžāĻāĻ¨āĻŋāĻ āĻĄā§āĻ°āĻžāĻŽāĻžāĻāĻŋāĻ āĻŽāĻ¨ā§āĻ˛ā§āĻ āĻ˛ā§āĻāĻ āĻšāĻŋāĻ¸āĻžāĻŦā§ āĻŦā§āĻĻā§āĻ§āĻŋāĻā§āĻŦā§ āĻāĻŦāĻŋāĻĻā§āĻ° āĻ āĻ¨ā§āĻ¸āĻžāĻ°ā§āĨ¤
Dissociation of sensibility: The term âdissociation of sensibilityâ has been coined out by Eliot in his essay. Dr. Johnson blames the intellectual poets in the following manner:
‘the most heterogeneous ideas are yoked by violence together’
Such blame recommends that the metaphysical poets were the first to separate thought and passion. But it is crystal clear that the reflective poets are engulfed with dissociation of sensibility, but the intellectual poets are the lord of unification of sensibility.
āĻ¸āĻāĻŦā§āĻĻāĻ¨āĻļā§āĻ˛āĻ¤āĻž āĻŦāĻŋāĻ¯ā§āĻā§āĻ¤āĻŋ
āĻāĻ˛āĻŋāĻ¯āĻŧāĻ āĻ¤āĻžāĻāĻ° āĻĒā§āĻ°āĻŦāĻ¨ā§āĻ§ā§ âāĻ¸āĻāĻŦā§āĻĻāĻ¨āĻļā§āĻ˛āĻ¤āĻžāĻ° āĻŦāĻŋāĻā§āĻāĻŋāĻ¨ā§āĻ¨āĻ¤āĻžâ āĻļāĻŦā§āĻĻāĻāĻŋ āĻāĻŦāĻŋāĻˇā§āĻāĻžāĻ° āĻāĻ°ā§āĻā§āĻ¨āĨ¤ āĻĄāĻžāĻ āĻāĻ¨āĻ¸āĻ¨ āĻ¨āĻŋāĻŽā§āĻ¨āĻ˛āĻŋāĻāĻŋāĻ¤ āĻĒāĻĻā§āĻ§āĻ¤āĻŋāĻ¤ā§ āĻŦā§āĻĻā§āĻ§āĻŋāĻā§āĻŦā§ āĻāĻŦāĻŋāĻĻā§āĻ° āĻĻā§āĻˇ āĻĻāĻŋāĻ¯āĻŧā§āĻā§āĻ¨:
‘āĻ¸āĻ°ā§āĻŦāĻžāĻ§āĻŋāĻ āĻāĻŋāĻ¨ā§āĻ¨āĻ§āĻ°ā§āĻŽā§ āĻ§āĻžāĻ°āĻŖāĻž āĻāĻāĻ¸āĻžāĻĨā§ āĻ¸āĻšāĻŋāĻāĻ¸āĻ¤āĻž āĻĻā§āĻŦāĻžāĻ°āĻž āĻ¯ā§āĻ āĻāĻ°āĻž āĻšāĻ¯āĻŧ’
āĻāĻ āĻ§āĻ°āĻ¨ā§āĻ° āĻĻā§āĻˇ āĻ¸ā§āĻĒāĻžāĻ°āĻŋāĻļ āĻāĻ°ā§ āĻ¯ā§ āĻ°ā§āĻĒāĻ āĻāĻŦāĻŋāĻ°āĻž āĻ¸āĻ°ā§āĻŦ āĻĒā§āĻ°āĻĨāĻŽ āĻāĻŋāĻ¨ā§āĻ¤āĻž āĻ āĻāĻŦā§āĻāĻā§ āĻĒā§āĻĨāĻ āĻāĻ°ā§āĻāĻŋāĻ˛ā§āĻ¨āĨ¤ āĻ¸ā§āĻ¤āĻ°āĻžāĻ, āĻāĻāĻŋ āĻ¸ā§āĻĢāĻāĻŋāĻ āĻ¸ā§āĻĒāĻˇā§āĻ āĻ¯ā§ āĻĒā§āĻ°āĻ¤āĻŋāĻŦāĻŋāĻŽā§āĻŦāĻŋāĻ¤ āĻāĻŦāĻŋāĻ°āĻž āĻ¸āĻāĻŦā§āĻĻāĻ¨āĻļā§āĻ˛āĻ¤āĻž āĻŦāĻŋāĻā§āĻāĻŋāĻ¨ā§āĻ¨āĻ¤āĻžāĻ¯āĻŧ āĻāĻŦāĻĻā§āĻ§, āĻ¤āĻŦā§ āĻŦā§āĻĻā§āĻ§āĻŋāĻā§āĻŦā§ āĻāĻŦāĻŋāĻāĻŖ āĻ¸āĻāĻŦā§āĻĻāĻ¨āĻļā§āĻ˛āĻ¤āĻžāĻ° āĻāĻā§āĻāĻ°āĻŖā§āĻ° āĻāĻ°ā§āĻ¤āĻžāĨ¤
Diction vs feeling: Eliot presents a unique discovery between the intellectual poets and the reflective poets in the case of the use of language.
āĻ°āĻāĻ¨āĻžāĻļā§āĻ˛ā§ āĻŦāĻ¨āĻžāĻŽ āĻ āĻ¨ā§āĻā§āĻ¤āĻŋ: āĻāĻ˛āĻŋāĻ¯āĻŧāĻ āĻāĻžāĻˇāĻž āĻŦā§āĻ¯āĻŦāĻšāĻžāĻ°ā§āĻ° āĻā§āĻˇā§āĻ¤ā§āĻ°ā§ āĻŦā§āĻĻā§āĻ§āĻŋāĻā§āĻŦā§ āĻāĻŦāĻŋ āĻāĻŦāĻ āĻĒā§āĻ°āĻ¤āĻŋāĻŦāĻŋāĻŽā§āĻŦāĻŋāĻ¤ āĻāĻŦāĻŋāĻĻā§āĻ° āĻŽāĻ§ā§āĻ¯ā§ āĻāĻāĻāĻŋ āĻ āĻ¨āĻ¨ā§āĻ¯ āĻāĻŦāĻŋāĻˇā§āĻāĻžāĻ° āĻāĻĒāĻ¸ā§āĻĨāĻžāĻĒāĻ¨ āĻāĻ°ā§āĻā§āĻ¨āĨ¤
Conclusion: In a nutshell, it can be said that though Eliot is not starkly accurate in differentiating between the intellectual poets and the reflective poets, his intention is perfect because he has just wanted to show that the metaphysical poets are the inevitable part of the galaxy of English literature.
- Question: How does T.S. Eliot praise Donneâs ability to unify the intellectual thoughts and sensation of feeling?
Introduction: T.S. Eliot (1888-1965) is the first critic who in his essay âThe Metaphysical Poetsâ has praised the ability of John Donne. Sensuous apprehension of thought is called the unification of sensibility. To put it differently, unified sensibility means the combination of emotion and thought. Donneâs power of fusing intellectual thoughts and sensation of feeling is the key issue of Eliotâs essay.
āĻā§āĻŽāĻŋāĻāĻž: āĻāĻŋ.āĻāĻ¸. āĻāĻ˛āĻŋāĻ¯āĻŧāĻ (1888-1965) āĻšāĻ˛ā§āĻ¨ āĻĒā§āĻ°āĻĨāĻŽ āĻ¸āĻŽāĻžāĻ˛ā§āĻāĻ āĻ¯āĻŋāĻ¨āĻŋ āĻ¤āĻžāĻāĻ° āĻ°āĻāĻ¨āĻž “āĻĻā§āĻ¯ āĻŽā§āĻāĻŋāĻĢāĻŋāĻāĻŋāĻāĻžāĻ˛ āĻĒā§āĻ¯āĻŧā§āĻ” āĻ āĻāĻ¨ āĻĄā§āĻ¨-āĻāĻ° āĻĻāĻā§āĻˇāĻ¤āĻžāĻ° āĻĒā§āĻ°āĻļāĻāĻ¸āĻž āĻāĻ°ā§āĻā§āĻ¨āĨ¤ āĻāĻŋāĻ¨ā§āĻ¤āĻžāĻ° āĻ¸āĻāĻŦā§āĻĻāĻ¨āĻļā§āĻ˛ āĻ§āĻžāĻ°āĻŖāĻž āĻ¯āĻžāĻā§ āĻŦāĻ˛āĻž āĻšāĻ¯āĻŧ āĻ¸āĻāĻŦā§āĻĻāĻ¨āĻļā§āĻ˛āĻ¤āĻž āĻāĻā§āĻāĻ°āĻŖāĨ¤ āĻāĻāĻŋāĻā§ āĻ āĻ¨ā§āĻ¯āĻāĻžāĻŦā§ āĻŦāĻ˛āĻ¤ā§ āĻā§āĻ˛ā§ āĻ¸āĻāĻšāĻ¤ āĻ¸āĻāĻŦā§āĻĻāĻ¨āĻļā§āĻ˛āĻ¤āĻž āĻŽāĻžāĻ¨ā§ āĻāĻŦā§āĻ āĻāĻŦāĻ āĻāĻŋāĻ¨ā§āĻ¤āĻžāĻ° āĻ¸āĻāĻŽāĻŋāĻļā§āĻ°āĻŖāĨ¤ āĻĄāĻžāĻ¨ā§āĻ° āĻŦā§āĻĻā§āĻ§āĻŋāĻā§āĻŦā§ āĻāĻŋāĻ¨ā§āĻ¤āĻžāĻāĻžāĻŦāĻ¨āĻž āĻāĻŦāĻ āĻ āĻ¨ā§āĻā§āĻ¤āĻŋāĻ° āĻ¸āĻāĻŦā§āĻĻāĻ¨āĻā§ āĻŽāĻŋāĻļā§āĻ°āĻŋāĻ¤ āĻāĻ°āĻžāĻ° āĻļāĻā§āĻ¤āĻŋ āĻāĻ˛āĻŋāĻ¯āĻŧāĻā§āĻ° āĻ°āĻāĻ¨āĻžāĻ° āĻŽā§āĻ˛ āĻŦāĻŋāĻˇāĻ¯āĻŧāĨ¤
The Variety of mood and experience: Eliot argues that Donneâs poetry is chiefly remarkable for the range and variety of mood and attitude. By dint of the variety of moods, Donne has been able to blend thought and emotion in a bizarre way that has been designated as âa mechanism of sensibilityâ which can devour any kind of experience.
āĻŽā§āĻāĻžāĻ āĻāĻŦāĻ āĻ āĻāĻŋāĻā§āĻāĻ¤āĻžāĻ° āĻŦā§āĻāĻŋāĻ¤ā§āĻ°ā§āĻ¯: āĻāĻ˛āĻŋāĻ¯āĻŧāĻ āĻ¯ā§āĻā§āĻ¤āĻŋ āĻĻā§āĻāĻžāĻ¨ āĻ¯ā§ āĻĄā§āĻ¨ā§āĻ° āĻāĻŦāĻŋāĻ¤āĻž āĻĒā§āĻ°āĻ§āĻžāĻ¨āĻ¤ āĻāĻ˛ā§āĻ˛ā§āĻāĻ¯ā§āĻā§āĻ¯ āĻŽā§āĻāĻžāĻ āĻāĻŦāĻ āĻŽāĻ¨ā§āĻāĻžāĻŦā§āĻ° āĻĒāĻ°āĻŋāĻ¸ā§āĻŽāĻž āĻāĻŦāĻ āĻŦāĻŋāĻāĻŋāĻ¨ā§āĻ¨āĻ¤āĻžāĻ° āĻāĻ¨ā§āĻ¯āĨ¤ Donne āĻāĻŋāĻ¨ā§āĻ¤āĻž āĻāĻŦāĻ āĻāĻŦā§āĻ āĻŽāĻŋāĻļā§āĻ°āĻŋāĻ¤ āĻāĻ°āĻ¤ā§ āĻ¸āĻā§āĻˇāĻŽ āĻšāĻ¯āĻŧā§āĻā§ āĻāĻĻā§āĻāĻ āĻāĻĒāĻžāĻ¯āĻŧā§ āĻ¯āĻž āĻŽāĻ¨ā§āĻ¨ā§āĻ¤ āĻāĻ°āĻž āĻšāĻ¯āĻŧā§āĻā§ âāĻ¸āĻāĻŦā§āĻĻāĻ¨āĻļā§āĻ˛āĻ¤āĻžāĻ° āĻŦā§āĻ¯āĻŦāĻ¸ā§āĻĨāĻžâ āĻšāĻŋāĻ¸āĻžāĻŦā§ āĻ¯āĻž āĻā§āĻ¨āĻ āĻ§āĻ°āĻŖā§āĻ° āĻ āĻāĻŋāĻā§āĻāĻ¤āĻž āĻā§āĻ°āĻžāĻ¸ āĻāĻ°āĻ¤ā§ āĻĒāĻžāĻ°ā§āĨ¤
Intellectualism and logical quality: According to Eliot, the metaphysical poets are called intellectual poets, but their intellectuality is not devoid of passionate thinking. But rather they are logically associated. The critic refers one of the love poems of Donne entitled âA valediction: Forbidding Mourningâ in which Donne moves from thought to thought with measured and weighty music.
āĻŦā§āĻĻā§āĻ§āĻŋāĻāĻ¤āĻž āĻāĻŦāĻ āĻ¯ā§āĻā§āĻ¤āĻŋāĻ āĻā§āĻŖ: āĻāĻ˛āĻŋāĻ¯āĻŧāĻā§āĻ° āĻŽāĻ¤ā§, āĻ°ā§āĻĒāĻ āĻāĻŦāĻŋāĻĻā§āĻ° āĻŦā§āĻĻā§āĻ§āĻŋāĻā§āĻŦā§ āĻāĻŦāĻŋ āĻŦāĻ˛āĻž āĻšāĻ¯āĻŧ, āĻ¤āĻŦā§ āĻ¤āĻžāĻĻā§āĻ° āĻŦā§āĻĻā§āĻ§āĻŋāĻāĻ¤āĻž āĻ¸āĻāĻŦā§āĻĻāĻ¨āĻļā§āĻ˛ āĻāĻŋāĻ¨ā§āĻ¤āĻžāĻāĻžāĻŦāĻ¨āĻž āĻĨā§āĻā§ āĻŦāĻā§āĻāĻŋāĻ¤ āĻ¨āĻ¯āĻŧāĨ¤ āĻŦāĻ°āĻ āĻ¤āĻžāĻ°āĻž āĻ¯ā§āĻā§āĻ¤āĻŋāĻ¯ā§āĻā§āĻ¤āĻāĻžāĻŦā§ āĻ¯ā§āĻā§āĻ¤ āĻšāĻ¯āĻŧāĨ¤ āĻ¸āĻŽāĻžāĻ˛ā§āĻāĻ “āĻāĻāĻāĻŋ āĻļāĻĒāĻĨ: āĻļā§āĻāĻā§ āĻšāĻžāĻ°āĻžāĻŽ” āĻļāĻŋāĻ°ā§āĻ¨āĻžāĻŽā§ āĻĄāĻžāĻ¨ā§āĻ° āĻāĻāĻāĻŋ āĻĒā§āĻ°ā§āĻŽā§āĻ° āĻāĻŦāĻŋāĻ¤āĻž āĻāĻ˛ā§āĻ˛ā§āĻ āĻāĻ°ā§āĻā§āĻ¨ āĻ¯āĻžāĻ° āĻŽāĻ§ā§āĻ¯ā§ āĻĄā§āĻ¨ āĻāĻāĻāĻŋ āĻĒāĻ°āĻŋāĻŽāĻžāĻĒāĻ¯ā§āĻā§āĻ¯ āĻāĻŦāĻ āĻāĻāĻ¨āĻ¯ā§āĻā§āĻ¤ āĻ¸āĻāĻā§āĻ¤ āĻ¨āĻŋāĻ¯āĻŧā§ āĻāĻŋāĻ¨ā§āĻ¤āĻžāĻāĻžāĻŦāĻ¨āĻž āĻĨā§āĻā§ āĻāĻŋāĻ¨ā§āĻ¤āĻžāĻ¯āĻŧ āĻāĻ˛ā§ āĻāĻ¸ā§āĨ¤
Using imagery and conceits: Eliot remarks that Donneâs poems arise from an emotional situation. Then the poet argues to make his attitude acceptable and, in this process, the conceits are used as instruments. His originality is reflected when he uses images and conceits from various sources and fields. Eliot specially mentions âThe Relicâ that is one of the famous poems of John Donne.
âA bracelet of bright hair about the bone,â
Using Imagery and conceits: āĻāĻ˛āĻŋāĻ¯āĻŧāĻ āĻŽāĻ¨ā§āĻ¤āĻŦā§āĻ¯ āĻāĻ°ā§āĻā§āĻ¨ āĻ¯ā§ āĻĄā§āĻ¨ā§āĻ° āĻāĻŦāĻŋāĻ¤āĻžāĻā§āĻ˛āĻŋ āĻāĻāĻāĻŋ āĻ¸āĻāĻŦā§āĻĻāĻ¨āĻļā§āĻ˛ āĻĒāĻ°āĻŋāĻ¸ā§āĻĨāĻŋāĻ¤āĻŋ āĻĨā§āĻā§ āĻāĻĻā§āĻā§āĻ¤ āĻšāĻ¯āĻŧāĨ¤ āĻ¤āĻžāĻ°āĻĒāĻ°ā§ āĻāĻŦāĻŋ āĻ¤āĻžāĻ° āĻŽāĻ¨ā§āĻāĻžāĻŦāĻā§ āĻā§āĻ°āĻšāĻŖāĻ¯ā§āĻā§āĻ¯ āĻāĻ°āĻžāĻ° āĻĒāĻā§āĻˇā§ āĻ¯ā§āĻā§āĻ¤āĻŋ āĻĻā§āĻāĻžāĻ¨ āĻāĻŦāĻ, āĻāĻ āĻĒā§āĻ°āĻā§āĻ°āĻŋāĻ¯āĻŧāĻžāĻ¤ā§, āĻ āĻšāĻā§āĻāĻžāĻ° āĻ¯āĻ¨ā§āĻ¤ā§āĻ° āĻšāĻŋāĻ¸āĻžāĻŦā§ āĻŦā§āĻ¯āĻŦāĻšā§āĻ¤ āĻšāĻ¯āĻŧ āĻ¯āĻāĻ¨ āĻ¤āĻŋāĻ¨āĻŋ āĻŦāĻŋāĻāĻŋāĻ¨ā§āĻ¨ āĻāĻ¤ā§āĻ¸ āĻāĻŦāĻ āĻā§āĻˇā§āĻ¤ā§āĻ°ā§āĻ° āĻāĻŋāĻ¤ā§āĻ° āĻāĻŦāĻ āĻ āĻšāĻā§āĻāĻžāĻ° āĻŦā§āĻ¯āĻŦāĻšāĻžāĻ° āĻāĻ°ā§āĻ¨ āĻ¤āĻāĻ¨ āĻ¤āĻžāĻāĻ° āĻŽā§āĻ˛āĻŋāĻāĻ¤āĻž āĻĒā§āĻ°āĻ¤āĻŋāĻĢāĻ˛āĻŋāĻ¤ āĻšāĻ¯āĻŧāĨ¤ āĻāĻ˛āĻŋāĻ¯āĻŧāĻ āĻŦāĻŋāĻļā§āĻˇāĻāĻžāĻŦā§ “āĻĻā§āĻ¯ āĻ°āĻŋāĻ˛āĻŋāĻ” āĻāĻ˛ā§āĻ˛ā§āĻ āĻāĻ°ā§āĻā§āĻ¨ āĻāĻ˛āĻŋāĻ¯āĻŧāĻ āĻŦāĻŋāĻļā§āĻˇāĻāĻžāĻŦā§ āĻāĻ¨ āĻĄā§āĻ¨āĻŋāĻ° āĻ āĻ¨ā§āĻ¯āĻ¤āĻŽ āĻŦāĻŋāĻā§āĻ¯āĻžāĻ¤ āĻāĻŦāĻŋāĻ¤āĻž”āĻĻā§āĻ¯ āĻ°āĻŋāĻ˛āĻŋāĻ” āĻā§ āĻāĻ˛ā§āĻ˛ā§āĻ āĻāĻ°ā§āĻā§āĻ¨āĨ¤
“āĻšāĻžāĻĄāĻŧ āĻ¸āĻŽā§āĻĒāĻ°ā§āĻā§ āĻāĻā§āĻā§āĻŦāĻ˛ āĻā§āĻ˛ā§āĻ° āĻāĻāĻāĻŋ āĻŦā§āĻ°ā§āĻ¸āĻ˛ā§āĻ,”
Conclusion: Thus, Donne achieves the power of unification of sensibility very successfully and artificially. His poetry gives the impression that the thought and arguments are arising immediately out of passionate feelings. It is part of the dramatic realism of his style. He could combine disparate experiences and build something new by a variety of subjects.
- Write a short note on Chaucer.
Introduction: Geoffrey Chaucer (1343-1400) was a poet, scientific thinker, author, philosopher, and diplomat. He made a huge contribution to the development of English literature and language. The three stages of his literary career make him not only famous but also recognizable. According to John Dryden, Chaucer is the father of English poetry. He is given this title for a number of reasons.
Arnoldâs evaluation of Chaucer: In âThe Study of Poetryâ Matthew Arnold refers to Chaucer and seeks to establish a real estimate of his poetry. He says that the poetical importance of Chaucer does not need the assistance of the historic estimate. He is a genuine source of joy. He admits that the language of Chaucer is a cause of difficulty for us but he believes that it is a difficulty to be unhesitatingly accepted and overcome. In the recognition of Chaucer as a classic, the famous Arnoldian touchstone method stands in the way and spoils the whole game. Arnold is prepared to acknowledge the fact that the poetry of Chaucer is far better than the poetry before him. He is prepared to accept that he enjoys Chaucerâs writing. He says in most emphatic terms that it was dependent upon his talent. It is by the own words of Arnold:
âChaucer is not one of the great classics. His poetry transcends and effaces,
easily and without effort,âĻâĻâĻâ
Conclusion: Arnoldâs evaluation of Chaucer has been generally accepted by subsequent critics. G. K. Chesterton says that Chaucer was a humorist in the grand style. Some critics are also shocked to see Arnoldâs notion of seriousness.
- What do you mean by consolidation of imperialism?
Introduction: Imperialism is the process of expanding European overseas territories. To put it differently, it is the process of domination over weaker nations by powerful hypocrite nations. The whole process of imperialism is based on the consolidation of imperialism which is transparently coined out by Edward Said in literature.
Consolidation of imperialism: The consolidation of imperialism was the procedure of building of armies based on conscription, compulsory schooling, and the use of imperialism as a means of deflecting internal discontent and strengthening loyalties to the nation. To make easy the term âconsolidation of imperialismâ, Said discovers the two-fold meanings of culture that help the imperialists by focusing on the following aspects of culture:
- Fragile culture of the natives
- Ethical power of culture
- Literature as an institution of culture
Conclusion: Thus, the term consolidation of imperialism is a venture of permanent domination in the legalized process.
- What do you mean by post-colonialism or post-colonial theory?
Introduction: The history of colonialism is deeply rooted in the ups and downs of human history. The post-colonial theory was invented with the concept of post-modernism, but it spread around the world in the 1980s when the United Kingdom and the United States incorporated this theory into their academics.
Defined concept: Postcolonialism or postcolonial theory is the academic study of the cultural legacy of colonialism and imperialism. This theory focuses on the human consequences of the control and exploitation of colonized people and their lands. It is a critical analysis of the history, culture, literature, and discourse of European imperial power.
Expansion of the theory: The field of postcolonial studies was influenced by Edward Saidâs path-breaking book Orientalism. Said uses the term Orientalism in several different ways. Orientalism is a specific field of academic study about the Middle East and Asia. This term described a structured set of concepts, assumptions, and discursive practices that were used to produce, interpret, and evaluate knowledge about non-European people. Saidâs analysis made it possible for scholars to deconstruct literary and historical texts in order to understand how they reflected and reinforced the imperialist project. In âIntroduction to Culture and Imperialismâ, Said clearly states the theory of post-colonialism by referring to immigrating culture.
Conclusion: Thus, post-colonialism is a new term to enhance imperialistic power. This theory is a golden key for the imperialists to dominate the weaker nations sitting in a fixed place.
What similarity do you find between the metaphysical poets and modern poets?
Introduction: T. S. Eliot (1888-1965) in his critical essay âThe Metaphysical Poetsâ has shown the affinity between the metaphysical poets and the modern poets. He asserts that modern poetry is the result of metaphysical poetry. To put it differently, he is in the opinion that without the shadow of the metaphysical poets, modern poetry cannot get its way of improvement.
Variety and complexity: Variety and complexity have been the key fact against the metaphysical poets raised by Dr. Samuel Johnson (1709-1784). It is in Johnsonâs tongue:
âThe most heterogeneous ideas are yoked by violence togetherâ
But Eliot finds a great link between metaphysical poets and modern poets on a great variety of moods and complexity. Because juxtaposition is one of the significant features of modern poetry.
The use of language: Eliot says that the poet must become more and more comprehensive, allusive, and indirect in order to force language into his meaning. Comprehensive, allusive, and indirect qualities of the metaphysical poets are produced by the use of conceits. And today, the name of conceits is changed into obscure words mingled with simple phrasing.
Other similarities: Besides these, we also find some other similarities which are as follow:
- The quality of transforming ideas into sensations
- Dramatic beginning
- Intellectual quality
Conclusion: To sum up, it can be said that Eliot has wanted to say that the modern poets are the perfect imitators of the metaphysical poets because modern poetry descends in a direct line to the metaphysical poets.
Part: C
- Discuss âTouchstone Methodâ.
Or, discuss the merits and demerits of the âTouchstone Methodâ.
Introduction: Matthew Arnold (1822-1888) was the critic poet of the Victorian Period. He is considered to be the father of Modern Criticism. The method which is advocated by Arnold is known as the touch-stone method. According to Arnold, the term touchstone must be applicable for the purpose of judging and evaluating the standard of poetsâ literary works whether they are classic or not. This method is recognized as the masterpiece of the critical essay âThe Study of Poetryâ (1880).
āĻā§āĻŽāĻŋāĻāĻž: Matthew Arnold (1822-1888) āĻāĻŋāĻā§āĻā§āĻ°āĻŋāĻ¯āĻŧāĻžāĻ¨ āĻĒāĻŋāĻ°āĻŋāĻ¯āĻŧāĻĄā§āĻ° āĻ¸āĻŽāĻžāĻ˛ā§āĻāĻ āĻāĻŦāĻŋ āĻāĻŋāĻ˛ā§āĻ¨ āĨ¤ āĻ¤āĻžāĻā§ āĻāĻ§ā§āĻ¨āĻŋāĻ āĻ¸āĻŽāĻžāĻ˛ā§āĻāĻ¨āĻžāĻ° āĻāĻ¨āĻ āĻšāĻŋāĻ¸āĻžāĻŦā§ āĻŦāĻŋāĻŦā§āĻāĻ¨āĻž āĻāĻ°āĻž āĻšāĻ¯āĻŧ āĨ¤ Arnold āĻ¯ā§ āĻĒāĻĻā§āĻ§āĻ¤āĻŋāĻā§ āĻ¸āĻŽāĻ°ā§āĻĨāĻ¨ āĻāĻ°ā§āĻā§āĻ¨ āĻ¤āĻž touch-stone āĻĒāĻĻā§āĻ§āĻ¤āĻŋ āĻ¨āĻžāĻŽā§ āĻĒāĻ°āĻŋāĻāĻŋāĻ¤āĨ¤ Arnold-āĻāĻ° āĻŽāĻ¤ā§, touch-stone āĻĒāĻĻā§āĻ§āĻ¤āĻŋāĻāĻŋ āĻ āĻŦāĻļā§āĻ¯āĻ āĻāĻŦāĻŋāĻĻā§āĻ° āĻ¸āĻžāĻšāĻŋāĻ¤ā§āĻ¯ā§āĻ° āĻ°āĻāĻ¨āĻžāĻā§āĻ˛ā§āĻ° āĻŽāĻžāĻ¨ āĻŦāĻŋāĻāĻžāĻ° āĻāĻŦāĻ āĻŽā§āĻ˛ā§āĻ¯āĻžāĻ¯āĻŧāĻ¨ā§āĻ° āĻāĻĻā§āĻĻā§āĻļā§āĻ¯ā§ āĻĒā§āĻ°āĻ¯ā§āĻā§āĻ¯, āĻ¸ā§āĻā§āĻ˛ā§ āĻā§āĻ˛āĻžāĻ¸āĻŋāĻ āĻšā§āĻ āĻŦāĻž āĻ¨āĻž āĻšā§āĻ āĨ¤ āĻāĻ āĻĒāĻĻā§āĻ§āĻ¤āĻŋāĻāĻŋ āĻ¸āĻŽāĻžāĻ˛ā§āĻāĻ¨āĻžāĻŽā§āĻ˛āĻ āĻĒā§āĻ°āĻŦāĻ¨ā§āĻ§ âThe Study of Poetryâ (1880) āĻāĻ° āĻ¸ā§āĻ°āĻž āĻļāĻŋāĻ˛ā§āĻĒāĻāĻ°ā§āĻŽ āĻšāĻŋāĻ¸ā§āĻŦā§ āĻ¸ā§āĻŦā§āĻā§āĻ¤ āĨ¤
The scientific process of evaluation
Aristotle assigns excellent and high seriousness as one of the grand virtues of poetry. Here in the essay âThe Study of Poetryâ, Arnold has cited some lines of Homer, Dante, Shakespeare, and Milton as touchstones for testing the high poetic quality. As the âTouchstone Methodâ introduces the scientific process for critical evaluation and judgment of individual poets, Chaucer, Dryden, Pope and Shelley fail to be the best poet or classics because they have lack âhigh seriousnessâ. Even Shakespeare thinks too much for expression and little conception that is the slight flaw of Shakespeare but he is classic in accordance with Arnold. Actually, Arnold means to say that Chaucer, Dryden, Pope, and Shelley are genius but not classic.
āĻŦā§āĻā§āĻāĻžāĻ¨āĻŋāĻ āĻĒā§āĻ°āĻā§āĻ°āĻŋāĻ¯āĻŧāĻžāĻ° āĻŽā§āĻ˛ā§āĻ¯āĻžāĻ¯āĻŧāĻ¨
Aristotle āĻ¯ā§āĻŽāĻ¨ āĻāĻŽā§āĻāĻžāĻ° āĻāĻŦāĻ āĻāĻā§āĻ āĻāĻŽā§āĻā§āĻ°āĻ¤āĻžāĻā§ āĻ¨āĻŋāĻ°ā§āĻ§āĻžāĻ°āĻŖ āĻāĻ°ā§āĻā§āĻ¨ āĻāĻŦāĻŋāĻ¤āĻžāĻ° āĻ āĻ¨ā§āĻ¯āĻ¤āĻŽ āĻā§āĻŖ āĻšāĻŋāĻ¸āĻžāĻŦā§ āĨ¤ āĻāĻāĻžāĻ¨ā§ âThe Study of Poetryâ āĻĒā§āĻ°āĻŦāĻ¨ā§āĻ§ā§, Arnold āĻāĻžāĻŦā§āĻ¯ā§āĻ° āĻāĻā§āĻ āĻŽāĻžāĻ¨ā§āĻ° āĻā§āĻŖ āĻĒāĻ°ā§āĻā§āĻˇāĻž āĻāĻ°āĻžāĻ° āĻāĻ¨ā§āĻ¯ Homer, Dante, Shakespeare āĻāĻŦāĻ Milton-āĻāĻ° āĻāĻ¯āĻŧā§āĻāĻāĻŋ āĻ˛āĻžāĻāĻ¨āĻā§ touchstone āĻšāĻŋāĻ¸āĻžāĻŦā§ āĻāĻ˛ā§āĻ˛ā§āĻ¯ā§āĻ āĻāĻ°ā§āĻā§āĻ¨ āĨ¤ âTouchstone Methodâ āĻ¯ā§āĻŽāĻ¨ āĻĒā§āĻĨāĻ āĻāĻŦāĻŋāĻĻā§āĻ° āĻ¸āĻŽāĻžāĻ˛ā§āĻāĻ¨āĻžāĻŽā§āĻ˛āĻ āĻŽā§āĻ˛ā§āĻ¯āĻžāĻ¯āĻŧāĻ¨ āĻ āĻŦāĻŋāĻāĻžāĻ°ā§āĻ° āĻāĻ¨ā§āĻ¯ āĻŦā§āĻā§āĻāĻžāĻ¨āĻŋāĻ āĻĒā§āĻ°āĻā§āĻ°āĻŋāĻ¯āĻŧāĻžāĻ° āĻ¸āĻžāĻĨā§ āĻĒāĻ°āĻŋāĻāĻ¯āĻŧ āĻāĻ°āĻŋāĻ¯āĻŧā§ āĻĻā§āĻ¯āĻŧ, Chaucer, Dryden, Pope āĻāĻŦāĻ ShelleyāĻ° āĻ¸ā§āĻ°āĻž āĻāĻŦāĻŋ āĻŦāĻž āĻā§āĻ˛āĻžāĻ¸āĻŋāĻ āĻšāĻ¤ā§ āĻŦā§āĻ¯āĻ°ā§āĻĨ āĻšāĻ¨ āĻāĻžāĻ°āĻŖ āĻ¤āĻžāĻĻā§āĻ° āĻŽāĻ§ā§āĻ¯ā§ âhigh seriousnessâ-āĻāĻ° āĻ āĻāĻžāĻŦ āĻ°āĻ¯āĻŧā§āĻā§ āĨ¤ āĻāĻŽāĻ¨āĻāĻŋ āĻļā§āĻā§āĻ¸āĻĒāĻŋāĻ¯āĻŧāĻžāĻ° āĻāĻžāĻŦ āĻĒā§āĻ°āĻāĻžāĻļ āĻāĻŦāĻ āĻ¸āĻžāĻŽāĻžāĻ¨ā§āĻ¯ āĻ§āĻžāĻ°āĻŖāĻžāĻ° āĻāĻ¨ā§āĻ¯ āĻā§āĻŦ āĻŦā§āĻļāĻŋ āĻāĻŋāĻ¨ā§āĻ¤āĻž āĻāĻ°ā§āĻ¨ āĻ¯āĻž āĻļā§āĻā§āĻ¸āĻĒāĻŋāĻ¯āĻŧāĻžāĻ°ā§āĻ° āĻ¸āĻžāĻŽāĻžāĻ¨ā§āĻ¯ āĻ¤ā§āĻ°ā§āĻāĻŋ, āĻ¤āĻŦā§āĻ āĻ¤āĻŋāĻ¨āĻŋ āĻāĻ°ā§āĻ¨āĻ˛ā§āĻĄā§āĻ° āĻŽāĻ¤ā§ āĻā§āĻ˛āĻžāĻ¸āĻŋāĻ āĨ¤ āĻāĻ¸āĻ˛ā§, āĻāĻ°ā§āĻ¨āĻ˛ā§āĻĄ āĻŦāĻ˛āĻ¤ā§ āĻā§āĻ¯āĻŧā§āĻā§āĻ¨ āĻ¯ā§ Chaucer, Dryden, Pope āĻāĻŦāĻ Shelley āĻĒā§āĻ°āĻ¤āĻŋāĻāĻžāĻŦāĻžāĻ¨ āĻāĻŋāĻ¨ā§āĻ¤ā§ āĻā§āĻ˛āĻžāĻ¸āĻŋāĻ āĻ¨āĻ¨ āĨ¤
The yardstick of finding ideal poets
As a result of the application of this method in his essay, the critic finds his ideal poets too. Homer and Sophocles are his ideal poets of ancient times. Dante and Milton have also been classic and he finds Goethe and Wordsworth as an ideal among the modernists. Arnold gives Wordsworth high rank not for his poetry but for his âCriticism of Lifeâ.
āĻāĻĻāĻ°ā§āĻļ āĻāĻŦāĻŋāĻĻā§āĻ° āĻ¸āĻ¨ā§āĻ§āĻžāĻ¨ā§āĻ° āĻāĻā§āĻāĻŋāĻ¨āĻž
āĻ¤āĻžāĻāĻ° āĻ°āĻāĻ¨āĻžāĻ¯āĻŧ āĻāĻ āĻĒāĻĻā§āĻ§āĻ¤āĻŋ āĻĒā§āĻ°āĻ¯āĻŧā§āĻā§āĻ° āĻĢāĻ˛āĻ¸ā§āĻŦāĻ°ā§āĻĒ, āĻ¸āĻŽāĻžāĻ˛ā§āĻāĻ āĻ¤āĻžāĻāĻ° āĻāĻĻāĻ°ā§āĻļ āĻāĻŦāĻŋāĻĻā§āĻ°āĻ āĻā§āĻāĻā§ āĻĒāĻžāĻ¨ āĨ¤ āĻ¤āĻžāĻāĻ° āĻĒā§āĻ°āĻžāĻā§āĻ¨ āĻ¸āĻŽāĻ¯āĻŧā§āĻ° āĻāĻĻāĻ°ā§āĻļ āĻāĻŦāĻŋ āĻšāĻ˛ā§āĻ¨ Homer āĻāĻŦāĻ SophoclesāĨ¤ Dante āĻāĻŦāĻ MiltonāĻ āĻā§āĻ˛āĻžāĻ¸āĻŋāĻ āĻāĻŋāĻ˛ā§āĻ¨ āĻāĻŦāĻ āĻ¤āĻŋāĻ¨āĻŋ āĻāĻ§ā§āĻ¨āĻŋāĻāĻ¤āĻžāĻŦāĻžāĻĻā§āĻĻā§āĻ° āĻŽāĻ§ā§āĻ¯ā§ Goethe āĻāĻŦāĻ WordsworthāĻā§ āĻāĻĻāĻ°ā§āĻļ āĻšāĻŋāĻ¸āĻžāĻŦā§ āĻā§āĻāĻā§ āĻĒāĻžāĻ¨ āĨ¤ Arnold WordsworthāĻā§ āĻ¤āĻžāĻāĻ° āĻāĻŦāĻŋāĻ¤āĻžāĻ° āĻāĻ¨ā§āĻ¯ āĻ¨āĻ¯āĻŧ āĻŦāĻ°āĻ āĻ¤āĻžāĻāĻ° âCriticism of Lifeâ- āĻāĻ° āĻāĻ¨ā§āĻ¯ āĻāĻā§āĻ āĻĒāĻĻāĻŽāĻ°ā§āĻ¯āĻžāĻĻāĻž āĻĻāĻŋāĻ¯āĻŧā§āĻā§āĻ¨ āĨ¤
The method of evaluation, not rejection
Arnold asserts that in order to judge a poetâs work properly a critic should compare it, poetâs literary work, to the passages of the classics. If the work has high seriousness or criticism of life, it will be recognized as a classical piece of writing and the poet must be included in the line of the classics. But it is also remembered that the literary work will not be rejected completely as we cannot reject Dryden, pope, and Shelley. To prove Arnoldâs touchstone method, a few lines can be cited:
âAnd courage never to submit or yield
And what is else not to be overcomeâĻâĻâĻ…â
According to Arnold if we tact these few lines, they are enough even to save us from the fallacious estimate of poetry and to conduct us to real estimate.
āĻŽā§āĻ˛ā§āĻ¯āĻžāĻ¯āĻŧāĻ¨ā§āĻ° āĻĒāĻĻā§āĻ§āĻ¤āĻŋ, āĻĒā§āĻ°āĻ¤ā§āĻ¯āĻžāĻā§āĻ¯āĻžāĻ¨ā§āĻ° āĻ¨āĻ¯āĻŧ
Arnold āĻā§āĻ° āĻĻāĻŋāĻ¯āĻŧā§ āĻŦāĻ˛ā§āĻā§āĻ¨ āĻ¯ā§, āĻā§āĻ¨āĻ āĻāĻŦāĻŋāĻ° āĻāĻžāĻā§āĻ° āĻ¯āĻĨāĻžāĻ¯āĻĨ āĻŦāĻŋāĻāĻžāĻ° āĻāĻ°āĻžāĻ° āĻāĻ¨ā§āĻ¯ āĻāĻāĻāĻ¨ āĻ¸āĻŽāĻžāĻ˛ā§āĻāĻāĻā§ āĻ āĻŦāĻļā§āĻ¯āĻ āĻāĻŦāĻŋāĻ° āĻ¸āĻžāĻšāĻŋāĻ¤ā§āĻ¯āĻāĻ°ā§āĻŽāĻā§ āĻā§āĻ˛āĻžāĻ¸āĻŋāĻ āĻ āĻ¨ā§āĻā§āĻā§āĻĻā§āĻ° āĻ¸āĻžāĻĨā§ āĻ¤ā§āĻ˛āĻ¨āĻž āĻāĻ°āĻž āĻāĻāĻŋāĻ¤ āĨ¤ āĻ¯āĻĻāĻŋ āĻ¸āĻžāĻšāĻŋāĻ¤ā§āĻ¯āĻāĻ°ā§āĻŽāĻāĻŋāĻ¤ā§ āĻāĻā§āĻ āĻāĻŽā§āĻā§āĻ°āĻ¤āĻž āĻŦāĻž āĻā§āĻŦāĻ¨ā§āĻ° āĻ¸āĻŽāĻžāĻ˛ā§āĻāĻ¨āĻž āĻĨāĻžāĻā§, āĻ¤āĻŦā§ āĻāĻāĻŋ āĻ˛ā§āĻāĻžāĻ° āĻā§āĻ˛āĻžāĻ¸āĻŋāĻā§āĻ¯āĻžāĻ˛ āĻ āĻāĻļ āĻšāĻŋāĻ¸āĻžāĻŦā§ āĻ¸ā§āĻŦā§āĻā§āĻ¤ āĻšāĻŦā§ āĻāĻŦāĻ āĻ¸ā§āĻ āĻāĻŦāĻŋāĻā§ āĻ āĻŦāĻļā§āĻ¯āĻ āĻā§āĻ˛āĻžāĻ¸āĻŋāĻāĻĻā§āĻ° āĻ¸āĻžāĻ°āĻŋāĻ¤ā§ āĻ āĻ¨ā§āĻ¤āĻ°ā§āĻā§āĻā§āĻ¤ āĻāĻ°āĻž āĻšāĻŦā§ āĨ¤ āĻ¤āĻŦā§ āĻāĻāĻžāĻ āĻŽāĻ¨ā§ āĻ°āĻžāĻāĻ¤ā§ āĻšāĻŦā§ āĻ¯ā§ āĻ¸āĻžāĻšāĻŋāĻ¤ā§āĻ¯āĻāĻ°ā§āĻŽāĻāĻŋ āĻ āĻŦāĻļā§āĻ¯āĻ āĻ¸āĻŽā§āĻĒā§āĻ°ā§āĻŖāĻ°ā§āĻĒā§ āĻĒā§āĻ°āĻ¤ā§āĻ¯āĻžāĻā§āĻ¯āĻžāĻ¤ āĻšāĻŦā§ āĻ¨āĻž āĻ¯ā§āĻšā§āĻ¤ā§ āĻāĻŽāĻ°āĻž Dryden, pope āĻāĻŦāĻ ShelleyāĻā§ āĻ āĻ¸ā§āĻŦā§āĻāĻžāĻ° āĻāĻ°āĻ¤ā§ āĻĒāĻžāĻ°āĻŋ āĻ¨āĻž āĨ¤ Arnold-āĻāĻ° touchstone āĻĒāĻĻā§āĻ§āĻ¤āĻŋāĻāĻŋ āĻĒā§āĻ°āĻŽāĻžāĻŖ āĻāĻ°āĻžāĻ° āĻāĻ¨ā§āĻ¯ āĻāĻ¯āĻŧā§āĻāĻāĻŋ āĻ˛āĻžāĻāĻ¨ āĻāĻĻā§āĻ§ā§āĻ¤ āĻāĻ°āĻž āĻ¯ā§āĻ¤ā§ āĻĒāĻžāĻ°ā§:
âāĻāĻŦāĻ āĻ¸āĻžāĻšāĻ¸ āĻāĻāĻ¨āĻ āĻāĻŽāĻž āĻŦāĻž āĻāĻ¤ā§āĻĒāĻžāĻĻāĻ¨ āĻšāĻ¯āĻŧ āĻ¨āĻž
āĻāĻŦāĻ āĻāĻžāĻāĻŋāĻ¯āĻŧā§ āĻāĻ āĻžāĻ° āĻāĻ° āĻā§ āĻ¨ā§āĻ âĻâĻâĻ …â
Arnold-āĻāĻ° āĻŽāĻ¤ā§ āĻāĻŽāĻ°āĻž āĻ¯āĻĻāĻŋ āĻāĻ āĻāĻ¯āĻŧā§āĻāĻāĻŋ āĻ˛āĻžāĻāĻ¨āĻāĻŋ āĻ°āĻĒā§āĻ¤ āĻāĻ°āĻŋ āĻ¤āĻŦā§ āĻāĻā§āĻ˛āĻŋ āĻāĻŽāĻžāĻĻā§āĻ° āĻāĻŦāĻŋāĻ¤āĻžāĻ° āĻŽāĻŋāĻĨā§āĻ¯āĻž āĻ āĻ¨ā§āĻŽāĻžāĻ¨ āĻĨā§āĻā§ āĻŦāĻžāĻāĻāĻ¤ā§ āĻāĻŦāĻ āĻāĻŽāĻžāĻĻā§āĻ°āĻā§ āĻ¸āĻ¤ā§āĻ¯āĻŋāĻāĻžāĻ°ā§āĻ° āĻ āĻ¨ā§āĻŽāĻžāĻ¨ā§āĻ° āĻĻāĻŋāĻā§ āĻĒāĻ°āĻŋāĻāĻžāĻ˛āĻŋāĻ¤ āĻāĻ°āĻ¤ā§ āĻ¯āĻĨā§āĻˇā§āĻāĨ¤
Categorization of the poets
Arnold surveys the entire track of English poetry by comparing the passages of Homer and Shakespeare and divides the poets into sundry categories of the good and great and not so good and so great. We can summarize Arnoldâs view that is recommended for the critic by him in the following sentences:
âIt is important therefore, to hold fast to this: that is at bottom a criticism of life: that a greatness of a poet lies in his powerful and beautiful application of ideas to life, and to the question, how to liveâ.
āĻāĻŦāĻŋāĻĻā§āĻ° āĻļā§āĻ°ā§āĻŖā§āĻŦāĻĻā§āĻ§āĻāĻ°āĻŖ
Arnold Homer āĻāĻŦāĻ Shakespeare-āĻāĻ° āĻ āĻ¨ā§āĻā§āĻā§āĻĻā§āĻ° āĻ¸āĻžāĻĨā§ āĻ¤ā§āĻ˛āĻ¨āĻž āĻāĻ°ā§ āĻāĻāĻ°ā§āĻāĻŋ āĻāĻŦāĻŋāĻ¤āĻžāĻ° āĻĒā§āĻ°ā§ āĻ§āĻžāĻ°āĻžāĻāĻŋ āĻ¸āĻŽā§āĻā§āĻˇāĻž āĻāĻ°ā§āĻā§āĻ¨ āĻāĻŦāĻ āĻāĻŦāĻŋāĻĻā§āĻ°āĻā§ good āĻ great āĻāĻŦāĻ not so good āĻ not so great āĻāĻ¤ā§āĻ¯āĻžāĻĻāĻŋ āĻŦāĻŋāĻāĻŋāĻ¨ā§āĻ¨ āĻŦāĻŋāĻāĻžāĻā§ āĻāĻžāĻ āĻāĻ°ā§āĻā§āĻ¨ āĨ¤ āĻāĻŽāĻ°āĻž āĻ¸āĻŽāĻžāĻ˛ā§āĻāĻāĻĻā§āĻ° āĻāĻĻā§āĻĻā§āĻļā§āĻ¯ā§ Arnold-āĻāĻ° āĻĻā§āĻˇā§āĻāĻŋāĻāĻā§āĻāĻŋāĻ° āĻ¸āĻāĻā§āĻˇāĻŋāĻĒā§āĻ¤āĻ¸āĻžāĻ° āĻāĻžāĻ¨āĻ¤ā§ āĻĒāĻžāĻ°āĻŋ āĻ¯āĻž āĻ¨āĻŋāĻŽā§āĻ¨āĻ˛āĻŋāĻāĻŋāĻ¤ āĻŦāĻžāĻā§āĻ¯āĻā§āĻ˛āĻŋāĻ¤ā§ āĻĻā§āĻ¯āĻŧāĻž āĻšāĻ˛ā§:
âāĻ āĻ¤āĻāĻŦ, āĻāĻ āĻŦāĻŋāĻˇāĻ¯āĻŧāĻāĻŋāĻā§ āĻĻā§āĻĸāĻŧāĻāĻžāĻŦā§ āĻ§āĻ°ā§ āĻ°āĻžāĻāĻž āĻā§āĻ°ā§āĻ¤ā§āĻŦāĻĒā§āĻ°ā§āĻŖ: āĻ¯ā§āĻāĻŋ āĻā§āĻŦāĻ¨ā§āĻ° āĻ¸āĻŽāĻžāĻ˛ā§āĻāĻ¨āĻžāĻ¯āĻŧ āĻ āĻ¨ā§āĻ¤āĻ°ā§āĻā§āĻā§āĻ¤ āĻ°āĻ¯āĻŧā§āĻā§: āĻ¯ā§ āĻāĻāĻāĻ¨ āĻāĻŦāĻŋāĻ° āĻŽāĻšāĻŋāĻŽāĻž āĻ¨āĻŋāĻšāĻŋāĻ¤ āĻ°āĻ¯āĻŧā§āĻā§ āĻ¤āĻžāĻāĻ° āĻ§āĻžāĻ°āĻŖāĻžāĻā§āĻ˛āĻŋāĻ° āĻĻā§āĻĸāĻŧ āĻ āĻ¸ā§āĻ¨ā§āĻĻāĻ° āĻĒā§āĻ°āĻ¯āĻŧā§āĻā§āĻ° āĻŽāĻ§ā§āĻ¯ā§, āĻāĻŦāĻ āĻāĻ āĻĒā§āĻ°āĻļā§āĻ¨āĻāĻŋāĻ° āĻŽāĻ§ā§āĻ¯ā§- āĻāĻŋāĻāĻžāĻŦā§ āĻŦāĻžāĻāĻāĻ¤ā§ āĻšāĻ¯āĻŧ āĨ¤â
Criticism or demerits
The touch-stone method introduced and proved by Matthew Arnold is neither very safe nor very sane. There are a number of disagreements as to the method. According to the critics, this comparative method is not perfect to determine the proper estimate of poetry because the personal and historical estimates are neglected in the method. Besides the contemporary presentation of poetic writing is also neglected by the touch-stone method. According to Van Doren, most of the touch-stone of Arnold deals in pain and sad memories.
āĻ¸āĻŽāĻžāĻ˛ā§āĻāĻ¨āĻž āĻŦāĻž āĻ¤ā§āĻ°ā§āĻāĻŋ
Matthew Arnold āĻĻā§āĻŦāĻžāĻ°āĻž āĻĒā§āĻ°āĻŦāĻ°ā§āĻ¤āĻŋāĻ¤ āĻāĻŦāĻ āĻĒā§āĻ°āĻŽāĻžāĻŖāĻŋāĻ¤ touch-stone āĻĒāĻĻā§āĻ§āĻ¤āĻŋāĻāĻŋ āĻā§āĻŦ āĻ¨āĻŋāĻ°āĻžāĻĒāĻĻ āĻ¨āĻ¯āĻŧ āĻāĻŦāĻžāĻ° āĻā§āĻŦ āĻāĻĻāĻ°ā§āĻļāĻ āĻ¨āĻ¯āĻŧ āĨ¤ āĻĒāĻĻā§āĻ§āĻ¤āĻŋāĻāĻŋ āĻ¸āĻŽā§āĻĒāĻ°ā§āĻā§ āĻ āĻ¨ā§āĻ āĻŽāĻ¤āĻā§āĻĻ āĻ°āĻ¯āĻŧā§āĻā§ āĨ¤ āĻ¸āĻŽāĻžāĻ˛ā§āĻāĻāĻĻā§āĻ° āĻŽāĻ¤ā§, āĻāĻ āĻ¤ā§āĻ˛āĻ¨āĻžāĻŽā§āĻ˛āĻ āĻĒāĻĻā§āĻ§āĻ¤āĻŋāĻāĻŋ āĻāĻŦāĻŋāĻ¤āĻžāĻ° āĻ¯āĻĨāĻžāĻ¯āĻĨ āĻ āĻ¨ā§āĻŽāĻžāĻ¨ āĻ¨āĻŋāĻ°ā§āĻ§āĻžāĻ°āĻŖā§āĻ° āĻāĻ¨ā§āĻ¯ āĻāĻĒāĻ¯ā§āĻā§āĻ¤ āĻ¨āĻ¯āĻŧ āĻāĻžāĻ°āĻŖ āĻĒāĻĻā§āĻ§āĻ¤āĻŋāĻāĻŋāĻ¤ā§ āĻŦā§āĻ¯āĻā§āĻ¤āĻŋāĻāĻ¤ āĻāĻŦāĻ āĻāĻ¤āĻŋāĻšāĻžāĻ¸āĻŋāĻ āĻ āĻ¨ā§āĻŽāĻžāĻ¨ āĻĒā§āĻ°āĻ¤ā§āĻ¯āĻžāĻā§āĻ¯āĻžāĻ¤ āĻ°āĻ¯āĻŧā§āĻā§ āĨ¤ āĻ¸āĻŽāĻ¸āĻžāĻŽāĻ¯āĻŧāĻŋāĻ āĻāĻĒāĻ¸ā§āĻĨāĻžāĻĒāĻ¨āĻžāĻ° āĻĒāĻžāĻļāĻžāĻĒāĻžāĻļāĻŋ āĻāĻžāĻŦā§āĻ¯āĻŋāĻ āĻ˛ā§āĻāĻž touch-stone āĻĒāĻĻā§āĻ§āĻ¤āĻŋ āĻĻā§āĻŦāĻžāĻ°āĻžāĻ āĻĒā§āĻ°āĻ¤ā§āĻ¯āĻžāĻā§āĻ¯āĻžāĻ¤ āĨ¤ Van Doren-āĻāĻ° āĻŽāĻ¤ā§, Arnold-āĻāĻ° āĻŦā§āĻļāĻŋāĻ°āĻāĻžāĻ touch-stone āĻĒāĻĻā§āĻ§āĻ¤āĻŋ āĻŦā§āĻ¯āĻĨāĻž āĻāĻŦāĻ āĻĻā§āĻāĻā§āĻ° āĻ¸ā§āĻŽā§āĻ¤āĻŋāĻ° āĻ¸āĻžāĻĨā§ āĻ¸āĻŽā§āĻĒāĻ°ā§āĻāĻŋāĻ¤ āĨ¤
Conclusion: To sum up, it is asserted that the âTouchstone Methodâ is a landmark in the history of English Literature as it makes the poet thoughtful about the far-reaching effects of poetry, and as a result of this method the acceptance of poetry has been enhanced to the readers.
āĻāĻĒāĻ¸āĻāĻšāĻžāĻ°: āĻ¸āĻžāĻ°āĻ¸āĻāĻā§āĻˇā§āĻĒā§, āĻāĻāĻŋ āĻĻā§āĻĸāĻŧāĻāĻžāĻŦā§ āĻŦāĻ˛āĻž āĻ¯āĻžāĻ¯āĻŧ āĻ¯ā§ âTouchstone Methodâ āĻāĻāĻ°ā§āĻāĻŋ āĻ¸āĻžāĻšāĻŋāĻ¤ā§āĻ¯ā§āĻ° āĻāĻ¤āĻŋāĻšāĻžāĻ¸ā§āĻ° āĻāĻāĻāĻŋ āĻŽāĻžāĻāĻ˛ āĻĢāĻ˛āĻ āĻāĻžāĻ°āĻŖ āĻāĻāĻŋ āĻāĻŦāĻŋāĻā§ āĻāĻŦāĻŋāĻ¤āĻžāĻ° āĻ¸ā§āĻĻā§āĻ°āĻĒā§āĻ°āĻ¸āĻžāĻ°ā§ āĻĒā§āĻ°āĻāĻžāĻŦ āĻ¸āĻŽā§āĻĒāĻ°ā§āĻā§ āĻŦāĻŋāĻŦā§āĻāĻ¨āĻžāĻĒā§āĻ°ā§āĻŖ āĻāĻ°ā§ āĻ¤ā§āĻ˛ā§ āĻāĻŦāĻ āĻāĻ āĻĒāĻĻā§āĻ§āĻ¤āĻŋāĻ° āĻĢāĻ˛ā§ āĻĒāĻžāĻ āĻāĻĻā§āĻ° āĻāĻžāĻā§ āĻāĻŦāĻŋāĻ¤āĻžāĻ° āĻā§āĻ°āĻšāĻŖāĻ¯ā§āĻā§āĻ¯āĻ¤āĻž āĻŦā§āĻĻā§āĻ§āĻŋ āĻĒā§āĻ¯āĻŧā§āĻā§ āĨ¤
2. Discuss Matthew Arnold as a critic with reference to âThe Study of Poetry.
Introduction: Matthew Arnold was a Victorian poet and critic. He is considered to be the first modern critic and could be called the critic of critics because he became not only the champion of great poetry but also of literary criticism. As a critic, he talks about social issues, science, religion, and education. He was the first to pose questions in industrial Victorian society.
āĻā§āĻŽāĻŋāĻāĻž: āĻŽā§āĻ¯āĻžāĻĨāĻŋāĻ āĻāĻ°ā§āĻ¨āĻ˛ā§āĻĄ āĻāĻŋāĻ˛ā§āĻ¨ āĻāĻāĻāĻ¨ āĻāĻŋāĻā§āĻā§āĻ°āĻŋāĻ¯āĻŧāĻžāĻ¨ āĻāĻŦāĻŋ āĻāĻŦāĻ āĻ¸āĻŽāĻžāĻ˛ā§āĻāĻāĨ¤ āĻ¤āĻžāĻāĻā§ āĻĒā§āĻ°āĻĨāĻŽ āĻāĻ§ā§āĻ¨āĻŋāĻ āĻ¸āĻŽāĻžāĻ˛ā§āĻāĻ āĻšāĻŋāĻ¸āĻžāĻŦā§ āĻŦāĻŋāĻŦā§āĻāĻ¨āĻž āĻāĻ°āĻž āĻšāĻ¯āĻŧ āĻāĻŦāĻ āĻ¸āĻŽāĻžāĻ˛ā§āĻāĻāĻĻā§āĻ° āĻ¸āĻŽāĻžāĻ˛ā§āĻāĻ āĻŦāĻ˛āĻž āĻ¯ā§āĻ¤ā§ āĻĒāĻžāĻ°ā§ āĻāĻžāĻ°āĻŖ āĻ¤āĻŋāĻ¨āĻŋ āĻā§āĻŦāĻ˛ āĻĻā§āĻ°ā§āĻĻāĻžāĻ¨ā§āĻ¤ āĻāĻŦāĻŋāĻ¤āĻžāĻ° āĻā§āĻ¯āĻžāĻŽā§āĻĒāĻŋāĻ¯āĻŧāĻ¨āĻ āĻšāĻ¨āĻ¨āĻŋ, āĻ¤āĻŋāĻ¨āĻŋ āĻ¸āĻžāĻšāĻŋāĻ¤ā§āĻ¯āĻŋāĻ āĻ¸āĻŽāĻžāĻ˛ā§āĻāĻ¨āĻžāĻ° āĻā§āĻ¯āĻžāĻŽā§āĻĒāĻŋāĻ¯āĻŧāĻ¨āĻ āĻšāĻ¯āĻŧā§āĻāĻŋāĻ˛ā§āĻ¨āĨ¤ āĻ¸āĻŽāĻžāĻ˛ā§āĻāĻ āĻšāĻŋāĻ¸āĻžāĻŦā§ āĻ¤āĻŋāĻ¨āĻŋ āĻ¸āĻžāĻŽāĻžāĻāĻŋāĻ āĻŦāĻŋāĻˇāĻ¯āĻŧ, āĻŦāĻŋāĻā§āĻāĻžāĻ¨, āĻ§āĻ°ā§āĻŽ āĻāĻŦāĻ āĻļāĻŋāĻā§āĻˇāĻž āĻ¨āĻŋāĻ¯āĻŧā§ āĻāĻĨāĻž āĻŦāĻ˛ā§āĻ¨āĨ¤ āĻļāĻŋāĻ˛ā§āĻĒ āĻāĻŋāĻā§āĻā§āĻ°āĻŋāĻ¯āĻŧāĻžāĻ¨ āĻ¸āĻŽāĻžāĻā§ āĻ¤āĻŋāĻ¨āĻŋāĻ āĻĒā§āĻ°āĻĨāĻŽ āĻĒā§āĻ°āĻļā§āĻ¨āĻāĻŋ āĻāĻ°ā§āĻāĻŋāĻ˛ā§āĻ¨āĨ¤
Influential critic
According to Matthew Arnold, the purpose of literary criticism is to know the best that is known and thought in the world and to generate a flow of genuine and fresh ideas that is why he has been able to influence the whole school of critics including T. S. Eliot and Allen Tate.
āĻĒā§āĻ°āĻāĻžāĻŦāĻļāĻžāĻ˛ā§ āĻ¸āĻŽāĻžāĻ˛ā§āĻāĻ
āĻŽā§āĻ¯āĻžāĻĨā§ āĻāĻ°ā§āĻ¨āĻ˛ā§āĻĄā§āĻ° āĻŽāĻ¤ā§, āĻ¸āĻžāĻšāĻŋāĻ¤ā§āĻ¯ā§āĻ° āĻ¸āĻŽāĻžāĻ˛ā§āĻāĻ¨āĻžāĻ° āĻāĻĻā§āĻĻā§āĻļā§āĻ¯ āĻš’āĻ˛ āĻŦāĻŋāĻļā§āĻŦā§āĻ° āĻ¸āĻ°ā§āĻŦāĻžāĻ§āĻŋāĻ āĻĒāĻ°āĻŋāĻāĻŋāĻ¤ āĻāĻŦāĻ āĻāĻŋāĻ¨ā§āĻ¤āĻžāĻ§āĻžāĻ°āĻž āĻāĻžāĻ¨āĻž āĻāĻŦāĻ āĻ¸āĻ¤ā§āĻ¯āĻŋāĻāĻžāĻ°ā§āĻ° āĻāĻŦāĻ āĻ¸āĻ¤ā§āĻ āĻ§āĻžāĻ°āĻŖāĻžāĻā§āĻ˛āĻŋāĻ° āĻāĻāĻāĻŋ āĻĒā§āĻ°āĻŦāĻžāĻš āĻ¤ā§āĻ°āĻŋ āĻāĻ°āĻž āĻāĻ āĻāĻžāĻ°āĻŖā§āĻ āĻ¤āĻŋāĻ¨āĻŋ āĻāĻŋāĻāĻ¸ āĻāĻ˛āĻŋāĻ¯āĻŧāĻ āĻāĻŦāĻ āĻ ā§āĻ¯āĻžāĻ˛ā§āĻ¨ āĻā§āĻ āĻ¸āĻš āĻ¸āĻŽāĻžāĻ˛ā§āĻāĻāĻĻā§āĻ° āĻĒā§āĻ°ā§ āĻ¸ā§āĻā§āĻ˛āĻā§ āĻĒā§āĻ°āĻāĻžāĻŦāĻŋāĻ¤ āĻāĻ°āĻ¤ā§ āĻ¸āĻā§āĻˇāĻŽ āĻšāĻ¯āĻŧā§āĻā§āĻ¨
Founder of sociological school of criticism
The sociological school of criticism was founded by Matthew Arnold. His touchstone method introduced scientific objectivity to critical evaluation by providing comparison and analysis as the two primary tools of criticism. His touchstone method and objective approach to critical evaluation have been praised by Allen Tate and T. S. Eliot.
āĻ¸āĻŽāĻžāĻāĻ¤āĻžāĻ¤ā§āĻ¤ā§āĻŦāĻŋāĻ āĻ¸āĻŽāĻžāĻ˛ā§āĻāĻ¨āĻž āĻ¸ā§āĻā§āĻ˛ā§āĻ° āĻĒā§āĻ°āĻ¤āĻŋāĻˇā§āĻ āĻžāĻ¤āĻž
āĻ¸āĻŽāĻžāĻāĻ¤āĻžāĻ¤ā§āĻ¤ā§āĻŦāĻŋāĻ āĻ¸āĻŽāĻžāĻ˛ā§āĻāĻ¨āĻžāĻ° āĻ¸ā§āĻā§āĻ˛āĻāĻŋ āĻŽā§āĻ¯āĻžāĻĨā§ āĻāĻ°ā§āĻ¨āĻ˛ā§āĻĄ āĻĒā§āĻ°āĻ¤āĻŋāĻˇā§āĻ āĻž āĻāĻ°ā§āĻāĻŋāĻ˛ā§āĻ¨āĨ¤ āĻ¤āĻžāĻāĻ° āĻāĻžāĻāĻ¸ā§āĻā§āĻ¨ āĻĒāĻĻā§āĻ§āĻ¤āĻŋ āĻ¸āĻŽāĻžāĻ˛ā§āĻāĻ¨āĻžāĻ° āĻĻā§āĻāĻŋ āĻĒā§āĻ°āĻžāĻĨāĻŽāĻŋāĻ āĻ¸āĻ°āĻā§āĻāĻžāĻŽ āĻšāĻŋāĻ¸āĻžāĻŦā§ āĻ¤ā§āĻ˛āĻ¨āĻž āĻāĻŦāĻ āĻŦāĻŋāĻļā§āĻ˛ā§āĻˇāĻŖ āĻĒā§āĻ°āĻĻāĻžāĻ¨ āĻāĻ°ā§ āĻ¸āĻŽāĻžāĻ˛ā§āĻāĻ¨āĻžāĻŽā§āĻ˛āĻ āĻŽā§āĻ˛ā§āĻ¯āĻžāĻ¯āĻŧāĻ¨ā§āĻ° āĻŦā§āĻā§āĻāĻžāĻ¨āĻŋāĻ āĻ āĻŦāĻžāĻ¸ā§āĻ¤āĻŦāĻ¤āĻžāĻ° āĻĒāĻ°āĻŋāĻāĻ¯āĻŧ āĻĻā§āĻ¯āĻŧāĨ¤ āĻ ā§āĻ¯āĻžāĻ˛ā§āĻ¨ āĻā§āĻ āĻāĻŦāĻ āĻāĻŋ. āĻāĻ¸. āĻāĻ˛āĻŋāĻ¯āĻŧāĻ āĻĒā§āĻ°āĻļāĻāĻ¸āĻŋāĻ¤ āĻšāĻ¯āĻŧā§āĻā§āĻ¨ āĻ¤āĻžāĻāĻ° āĻāĻžāĻāĻ¸ā§āĻā§āĻ¨ āĻĒāĻĻā§āĻ§āĻ¤āĻŋ āĻāĻŦāĻ āĻ¸āĻŽāĻžāĻ˛ā§āĻāĻ¨āĻžāĻŽā§āĻ˛āĻ āĻŽā§āĻ˛ā§āĻ¯āĻžāĻ¯āĻŧāĻ¨ā§āĻ° āĻāĻĻā§āĻĻā§āĻļā§āĻ¯āĻĒā§āĻ°āĻŖāĻžāĻ˛ā§ āĻāĻ° āĻāĻ¨ā§āĻ¯
Critical view on social role of poetry
As a critic, Arnold has presented the social role of poetry. He thinks a critic is a social benefactor. He asserts that a creative artist would cut the sorry figure and should only care for the beauties and defects of literary works. As cultural and social values are synonymous to Arnold, he suggests that a poet should be very careful while he writes poetry because cultural values give us principles and the best poems should be selected and made known by the principles. Besides, poetry is the criticism of life. In the seminal essay âThe Study of Poetryâ, 1888, he claims the elevated status of poetry that is that poetry is superior to philosophy, religion, science, and politics. He also claims that poetry can alone be our sustenance and succor. Thus, he calls poetry the breath and finer spirit of knowledge.
āĻāĻŦāĻŋāĻ¤āĻžāĻ° āĻ¸āĻžāĻŽāĻžāĻāĻŋāĻ āĻā§āĻŽāĻŋāĻāĻž āĻ¨āĻŋāĻ¯āĻŧā§ āĻ¸āĻŽāĻžāĻ˛ā§āĻāĻ āĻĻā§āĻˇā§āĻāĻŋāĻāĻā§āĻāĻŋ
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Moral critic
Arnold as a critic is essentially a moralist and he has very definite ideas about what poetry should and should not be. He says that poetry of revolt against moral ideas is a poetry of revolt against life and poetry of indifference to moral ideas is a poetry of indifference to life. He believes âhigh seriousness is impossible if poetry is devoid of moral ideas and replete with charlatanism. He mentions Aristotleâs reference âpoetry is superior to historyâ as poetry bears high seriousness and truth. So, the field of poetry should be free from charlatanism and packed up with moral ideas.
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Evaluator of classical values
In his essay âThe Study of Poetryâ, Arnold returns to the classical values. He believes that a modern writer should be aware that contemporary literature is built on the foundation of the past. He evaluates and judges the English poets from Chaucer to onwards, ancient Greek poet Homer, Latin poet Dante, southern and northern French poets, and Scottish poet Burns so that he can ensure the classical values of poetry because poetry has antiquity and universality that has been proved by Sir Philip Sidney in the essay âAn Apology for Poetryâ. He censors, by applying the scientific touchstone method, the poets like Chaucer, Dryden, Pope, Burns, and Shelley because of lacking of high seriousness but on the other hand, he praises Dante, Milton, Gray, and Wordsworth because of their proper interpretation of life.
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Arnoldâs limitation as a critic
Though Arnold is given the title of the father of modern literary criticism, he has a number of limitations too. His first and foremost limitation is that he has even shown the significance of Keatsâ sentimental letters to Fenny Browne. He is not a critic but a satirical critic and he has provided decisions too quickly. He cannot see and even realize the beauty and significance of lyricism or lyrical poems due to his blindness and adoration of classicism. His lack of historical sense is another failing and his touchstone method is not out and out perfect.
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āĻ¯āĻĻāĻŋāĻ āĻāĻ°ā§āĻ¨āĻ˛ā§āĻĄāĻā§ āĻāĻ§ā§āĻ¨āĻŋāĻ āĻ¸āĻžāĻšāĻŋāĻ¤ā§āĻ¯ āĻ¸āĻŽāĻžāĻ˛ā§āĻāĻ¨āĻžāĻ° āĻāĻ¨āĻ āĻāĻĒāĻžāĻ§āĻŋ āĻĻā§āĻāĻ¯āĻŧāĻž āĻšāĻ˛ā§āĻ āĻ¤āĻžāĻāĻ°āĻ āĻ āĻ¨ā§āĻāĻā§āĻ˛āĻŋ āĻ¸ā§āĻŽāĻžāĻŦāĻĻā§āĻ§āĻ¤āĻž āĻ°āĻ¯āĻŧā§āĻā§āĨ¤ āĻ¤āĻžāĻ° āĻĒā§āĻ°āĻĨāĻŽ āĻāĻŦāĻ āĻ¸āĻ°ā§āĻŦāĻžāĻ§āĻŋāĻ āĻ¸ā§āĻŽāĻžāĻŦāĻĻā§āĻ§āĻ¤āĻž āĻš’āĻ˛ āĻ¤āĻŋāĻ¨āĻŋ āĻĢā§āĻ¨āĻŋ āĻŦā§āĻ°āĻžāĻāĻ¨āĻā§ āĻā§āĻāĻ¸ā§āĻ° āĻ¸āĻāĻŦā§āĻĻāĻ¨āĻļā§āĻ˛ āĻāĻŋāĻ āĻŋāĻ° āĻ¤āĻžāĻ¤ā§āĻĒāĻ°ā§āĻ¯āĻ āĻĻā§āĻāĻŋāĻ¯āĻŧā§āĻā§āĻ¨āĨ¤ āĻ¤āĻŋāĻ¨āĻŋ āĻā§āĻ¨āĻ āĻ¸āĻŽāĻžāĻ˛ā§āĻāĻ āĻ¨āĻ¯āĻŧ āĻŦāĻ°āĻ āĻāĻāĻāĻŋ āĻŦā§āĻ¯āĻā§āĻāĻžāĻ¤ā§āĻŽāĻ āĻ¸āĻŽāĻžāĻ˛ā§āĻāĻ āĻāĻŦāĻ āĻ¤āĻŋāĻ¨āĻŋ āĻā§āĻŦ āĻĻā§āĻ°ā§āĻ¤ āĻ¸āĻŋāĻĻā§āĻ§āĻžāĻ¨ā§āĻ¤āĻ āĻĻāĻŋāĻ¯āĻŧā§āĻā§āĻ¨āĨ¤ āĻ¤āĻŋāĻ¨āĻŋ āĻ āĻ¨ā§āĻ§āĻ¤ā§āĻŦ āĻāĻŦāĻ āĻā§āĻ˛ā§āĻ¯āĻžāĻ¸āĻŋāĻāĻŋāĻāĻŽā§āĻ° āĻāĻĒāĻžāĻ¸āĻ¨āĻžāĻ° āĻāĻžāĻ°āĻŖā§ āĻā§āĻ¤āĻŋāĻāĻžāĻŦā§āĻ¯ āĻŦāĻž āĻā§āĻ¤āĻŋāĻāĻžāĻ° āĻāĻŦāĻŋāĻ¤āĻžāĻ° āĻ¸ā§āĻ¨ā§āĻĻāĻ°ā§āĻ¯ āĻāĻŦāĻ āĻ¤āĻžā§āĻĒāĻ°ā§āĻ¯ āĻĻā§āĻāĻ¤ā§ āĻāĻŦāĻ āĻŦā§āĻāĻ¤ā§āĻ āĻĒāĻžāĻ°ā§āĻ¨ āĻ¨āĻžāĨ¤ āĻ¤āĻžāĻāĻ° āĻāĻ¤āĻŋāĻšāĻžāĻ¸āĻŋāĻ āĻŦā§āĻ§ā§āĻ° āĻ āĻāĻžāĻŦ āĻāĻ°ā§āĻāĻāĻŋ āĻŦā§āĻ¯āĻ°ā§āĻĨāĻ¤āĻž āĻāĻŦāĻ āĻ¤āĻžāĻ° āĻāĻžāĻāĻ¸ā§āĻā§āĻ¨ āĻĒāĻĻā§āĻ§āĻ¤āĻŋāĻāĻŋ āĻĒā§āĻ°ā§āĻĒā§āĻ°āĻŋ āĻ¸āĻ āĻŋāĻ āĻ¨āĻ¯āĻŧāĨ¤
Conclusion: From the light of the above discussion, it can be said that Arnold has fixed his position in the rich galaxy of English critic-poet particularly for his âThe Study of Poetryâ. The critics like T. S. Eliot have been influenced by him too and Scott James has compared him to Aristotle in spite of having criticism.
3. Discuss the two-fold meaning of culture.
Or, how does Edward W. Said show culture as an instrument of imperialism?
Introduction: Edward W. Said (1935-2003) is considered to be one of the illustrious critics and philosophers of the late 20th century who has expounded the most critical concept in his collection of essays âIntroduction to Culture and Imperialismâ published in 1993 that there is a very subtle relationship between culture and imperialism. He looks into the relationship between culture and imperialism from a different angle as he has got different instruments of culture for imperialism.
āĻā§āĻŽāĻŋāĻāĻž: Edward W. Said (1935-2003) āĻŦāĻŋāĻļ āĻļāĻ¤āĻā§āĻ° āĻļā§āĻˇā§āĻ° āĻĻāĻŋāĻā§āĻ° āĻ āĻ¨ā§āĻ¯āĻ¤āĻŽ āĻŦāĻŋāĻļāĻŋāĻˇā§āĻ āĻ¸āĻŽāĻžāĻ˛ā§āĻāĻ āĻāĻŦāĻ āĻĻāĻžāĻ°ā§āĻļāĻ¨āĻŋāĻ āĻšāĻŋāĻ¸āĻžāĻŦā§ āĻĒāĻ°āĻŋāĻāĻŋāĻ¤ āĻ¯āĻŋāĻ¨āĻŋ ā§§ā§¯ā§¯ā§Š āĻ¸āĻžāĻ˛ā§ āĻĒā§āĻ°āĻāĻžāĻļāĻŋāĻ¤ āĻ¤āĻžāĻāĻ° āĻ°āĻāĻ¨āĻžāĻŽā§āĻ˛āĻ āĻ¸āĻāĻāĻ˛āĻ¨ âIntroduction to Culture and Imperialismâ-āĻ āĻ¸āĻŦāĻā§āĻ¯āĻŧā§ āĻ¸āĻŽāĻžāĻ˛ā§āĻāĻ¨āĻžāĻŽā§āĻ˛āĻ āĻ§āĻžāĻ°āĻŖāĻžāĻāĻŋ āĻŦā§āĻ¯āĻžāĻā§āĻ¯āĻž āĻāĻ°ā§āĻā§āĻ¨ āĻ¯ā§āĻāĻŋ āĻšāĻ˛ā§ āĻ¸āĻāĻ¸ā§āĻā§āĻ¤āĻŋ āĻāĻŦāĻ āĻ¸āĻžāĻŽā§āĻ°āĻžāĻā§āĻ¯āĻŦāĻžāĻĻā§āĻ° āĻŽāĻ§ā§āĻ¯ā§ āĻāĻāĻāĻŋ āĻā§āĻŦ āĻ¸ā§āĻā§āĻˇā§āĻŽ āĻ¸āĻŽā§āĻĒāĻ°ā§āĻ āĻ°āĻ¯āĻŧā§āĻā§ āĨ¤ āĻ¤āĻŋāĻ¨āĻŋ āĻ¸āĻžāĻŽā§āĻ°āĻžāĻā§āĻ¯āĻŦāĻžāĻĻā§āĻ° āĻāĻ¨ā§āĻ¯ āĻ¸āĻāĻ¸ā§āĻā§āĻ¤āĻŋāĻ° āĻŦāĻŋāĻāĻŋāĻ¨ā§āĻ¨ āĻāĻ¨āĻ¸ā§āĻā§āĻ°ā§āĻŽā§āĻ¨ā§āĻ āĻĒā§āĻ¯āĻŧā§āĻā§āĻ¨ āĻŦāĻ˛ā§ āĻ¸āĻāĻ¸ā§āĻā§āĻ¤āĻŋ āĻāĻŦāĻ āĻ¸āĻžāĻŽā§āĻ°āĻžāĻā§āĻ¯āĻŦāĻžāĻĻā§āĻ° āĻŽāĻ§ā§āĻ¯āĻāĻžāĻ° āĻ¸āĻŽā§āĻĒāĻ°ā§āĻāĻā§ āĻāĻāĻāĻŋ āĻāĻŋāĻ¨ā§āĻ¨ āĻĻā§āĻˇā§āĻāĻŋāĻā§āĻŖ āĻĨā§āĻā§ āĻĻā§āĻā§āĻ¨ āĨ¤
Fundamental concept on culture
For well understand âculture as an instrument of imperialismâ, it is needed to go into deeply. First of all, the aspects of culture should be clarified. According to Edward Said, culture means two things in particular. It primarily means practices of arts and aesthetic forms. Secondly, culture is a concept of refining and elevating elements and reservoirs of the best in accordance with what Matthew Arnold said in the 1860s. This fundamental concept of culture provides information that the natives of India, Africa, America, and so on could not preserve their arts and aesthetic forms that this why the imperialists could be able to be aggressive and search for so-called civilization.
āĻ¸āĻāĻ¸ā§āĻā§āĻ¤āĻŋ āĻ¸āĻŽā§āĻĒāĻ°ā§āĻā§ āĻŽā§āĻ˛āĻŋāĻ āĻ§āĻžāĻ°āĻŖāĻž
āĻ¸āĻāĻ¸ā§āĻā§āĻ¤āĻŋāĻā§ āĻ¸āĻžāĻŽā§āĻ°āĻžāĻā§āĻ¯āĻŦāĻžāĻĻā§āĻ° āĻāĻāĻāĻŋ āĻāĻ¨āĻ¸ā§āĻā§āĻ°ā§āĻŽā§āĻ¨ā§āĻ āĻšāĻŋāĻ¸āĻžāĻŦā§ āĻāĻžāĻ˛ā§ āĻāĻ°ā§ āĻŦā§āĻāĻžāĻ° āĻāĻ¨ā§āĻ¯, āĻāĻ° āĻāĻā§āĻ°ā§ āĻ¯āĻžāĻāĻ¯āĻŧāĻž āĻĒā§āĻ°āĻ¯āĻŧā§āĻāĻ¨ āĨ¤ āĻĒā§āĻ°āĻĨāĻŽāĻ¤, āĻ¸āĻāĻ¸ā§āĻā§āĻ¤āĻŋāĻ° āĻĻāĻŋāĻāĻā§āĻ˛ā§ āĻāĻžāĻ¨āĻž āĻāĻāĻŋāĻ¤āĨ¤ Edward Said-āĻāĻ° āĻŽāĻ¤ā§, āĻ¸āĻāĻ¸ā§āĻā§āĻ¤āĻŋāĻ° āĻ āĻ°ā§āĻĨ āĻŦāĻ˛āĻ¤ā§ āĻŦāĻŋāĻļā§āĻˇāĻ¤ āĻĻā§āĻāĻāĻŋ āĻāĻŋāĻ¨āĻŋāĻ¸ āĻŦā§āĻāĻžāĻ¯āĻŧ āĨ¤ āĻĒā§āĻ°āĻ§āĻžāĻ¨āĻ¤ āĻāĻ° āĻ āĻ°ā§āĻĨ āĻšāĻ˛ā§ āĻāĻžāĻ°ā§āĻāĻ˛āĻž āĻāĻŦāĻ āĻ¨āĻžāĻ¨ā§āĻĻāĻ¨āĻŋāĻ āĻŦāĻŋāĻ¨ā§āĻ¯āĻžāĻ¸ā§āĻ° āĻ āĻ¨ā§āĻļā§āĻ˛āĻ¨ āĨ¤ āĻĻā§āĻŦāĻŋāĻ¤ā§āĻ¯āĻŧāĻ¤, ā§§ā§Žā§Ŧā§Ļ-āĻāĻ° āĻĻāĻļāĻā§ Matthew Arnold āĻ¯ā§āĻŽāĻ¨ āĻŦāĻ˛ā§āĻāĻŋāĻ˛ā§āĻ¨ āĻ¯ā§ āĻ¸āĻāĻ¸ā§āĻā§āĻ¤āĻŋ āĻšāĻ˛ā§ āĻŦāĻŋāĻļā§āĻ§āĻ¨ āĻāĻŦāĻ āĻāĻ¨ā§āĻ¨āĻ¤ āĻāĻĒāĻžāĻĻāĻžāĻ¨ āĻāĻŦāĻ āĻ¸āĻ°ā§āĻŦā§āĻ¤ā§āĻ¤āĻŽ āĻāĻ§āĻžāĻ°ā§āĻ° āĻ§āĻžāĻ°āĻŖāĻž āĨ¤ āĻ¸āĻāĻ¸ā§āĻā§āĻ¤āĻŋāĻ° āĻāĻ āĻŽā§āĻ˛āĻŋāĻ āĻ§āĻžāĻ°āĻŖāĻžāĻāĻŋ āĻāĻŽāĻ¨ āĻ¤āĻĨā§āĻ¯ āĻ¸āĻ°āĻŦāĻ°āĻžāĻš āĻāĻ°ā§ āĻ¯ā§ āĻāĻžāĻ°āĻ¤, āĻāĻĢā§āĻ°āĻŋāĻāĻž, āĻāĻŽā§āĻ°āĻŋāĻāĻž āĻāĻ¤ā§āĻ¯āĻžāĻĻāĻŋ āĻ¸ā§āĻĨāĻžāĻ¨ā§āĻ¯āĻŧ āĻ¨āĻžāĻāĻ°āĻŋāĻāĻ°āĻž āĻ¤āĻžāĻĻā§āĻ° āĻļāĻŋāĻ˛ā§āĻĒāĻāĻ˛āĻž āĻāĻŦāĻ āĻ¨āĻžāĻ¨ā§āĻĻāĻ¨āĻŋāĻ āĻŦāĻŋāĻ¨ā§āĻ¯āĻžāĻ¸āĻā§āĻ˛ā§āĻ° āĻ¸āĻāĻ°āĻā§āĻˇāĻŖ āĻāĻ°āĻ¤ā§ āĻĒāĻžāĻ°ā§āĻ¨āĻŋ āĻ¯āĻžāĻ° āĻāĻžāĻ°āĻŖā§ āĻ¸āĻžāĻŽā§āĻ°āĻžāĻā§āĻ¯āĻŦāĻžāĻĻā§āĻ°āĻž āĻ¤āĻĨāĻžāĻāĻĨāĻŋāĻ¤ āĻ¸āĻā§āĻ¯āĻ¤āĻžāĻ° āĻāĻ¨ā§āĻ¯ āĻāĻā§āĻ°āĻŽāĻŖāĻžāĻ¤ā§āĻŽāĻ āĻšāĻ¤ā§ āĻāĻŦāĻ āĻ āĻ¨ā§āĻ¸āĻ¨ā§āĻ§āĻžāĻ¨ āĻāĻ°āĻ¤ā§ āĻ¸āĻā§āĻˇāĻŽ āĻšāĻ¯āĻŧā§āĻāĻŋāĻ˛ āĨ¤
Fragile culture of the natives
At the very outset of the essay, Said says that the culture of the third world is very fragile which was the strength of the imperialists. The imperialists always left contest among the natives. Said considers that supine or inert natives were the main strength of the imperialists.
âThese two factors-a general worldwide pattern of the imperial culture
and a historical experience of resistance against empireâ
Besides, the critic mentions that the people of the third world are mean-minded and conservative. On the other hand, the imperialists are so conceived and concerned. Thus, the culture of the overseas colonies became the instrument for the imperialists.
āĻ¸ā§āĻĨāĻžāĻ¨ā§āĻ¯āĻŧāĻĻā§āĻ° āĻĻā§āĻ°ā§āĻŦāĻ˛ āĻ¸āĻāĻ¸ā§āĻā§āĻ¤āĻŋ
āĻĒā§āĻ°āĻŦāĻ¨ā§āĻ§ā§āĻ° āĻāĻā§āĻŦāĻžāĻ°ā§ āĻļā§āĻ°ā§āĻ¤ā§ Said āĻŦāĻ˛ā§āĻā§āĻ¨ āĻ¯ā§ āĻ¤ā§āĻ¤ā§āĻ¯āĻŧ āĻŦāĻŋāĻļā§āĻŦā§āĻ° āĻ¸āĻāĻ¸ā§āĻā§āĻ¤āĻŋ āĻ āĻ¤ā§āĻ¯āĻ¨ā§āĻ¤ āĻ¨āĻžāĻā§āĻ āĻ¯āĻž āĻāĻŋāĻ˛ āĻ¸āĻžāĻŽā§āĻ°āĻžāĻā§āĻ¯āĻŦāĻžāĻĻā§āĻĻā§āĻ° āĻļāĻā§āĻ¤āĻŋ āĨ¤ āĻ¸āĻžāĻŽā§āĻ°āĻžāĻā§āĻ¯āĻŦāĻžāĻĻā§āĻ°āĻž āĻ¸āĻ°ā§āĻŦāĻĻāĻž āĻ¸ā§āĻĨāĻžāĻ¨ā§āĻ¯āĻŧāĻĻā§āĻ° āĻŽāĻ§ā§āĻ¯ā§ āĻĒā§āĻ°āĻ¤āĻŋāĻ¯ā§āĻāĻŋāĻ¤āĻž āĻ¸ā§āĻˇā§āĻāĻŋ āĻāĻ°āĻ¤ā§ āĨ¤ Said āĻŦāĻ˛ā§āĻā§āĻ¨ āĻ¯ā§ āĻ¸ā§āĻĒāĻžāĻāĻ¨ āĻŦāĻž āĻāĻĄāĻŧ āĻĻā§āĻļā§āĻ¯āĻŧāĻ°āĻž āĻāĻŋāĻ˛ āĻ¸āĻžāĻŽā§āĻ°āĻžāĻā§āĻ¯āĻŦāĻžāĻĻā§āĻĻā§āĻ° āĻĒā§āĻ°āĻ§āĻžāĻ¨ āĻļāĻā§āĻ¤āĻŋ.
āĻāĻ āĻĻā§āĻāĻŋ āĻāĻžāĻ°āĻŖ- āĻ¸āĻžāĻŽā§āĻ°āĻžāĻā§āĻ¯ āĻ¸āĻāĻ¸ā§āĻā§āĻ¤āĻŋāĻ° āĻāĻ āĻŦāĻŋāĻļā§āĻŦāĻŦā§āĻ¯āĻžāĻĒā§ āĻĒā§āĻ¯āĻžāĻāĻžāĻ°ā§āĻ¨
āĻāĻŦāĻ āĻ¸āĻžāĻŽā§āĻ°āĻžāĻā§āĻ¯ā§āĻ° āĻŦāĻŋāĻ°ā§āĻĻā§āĻ§ā§ āĻĒā§āĻ°āĻ¤āĻŋāĻ°ā§āĻ§ā§āĻ° āĻāĻāĻāĻŋ āĻāĻ¤āĻŋāĻšāĻžāĻ¸āĻŋāĻ āĻ āĻāĻŋāĻā§āĻāĻ¤āĻžâ
āĻĒāĻžāĻļāĻžāĻĒāĻžāĻļāĻŋ, āĻ¸āĻŽāĻžāĻ˛ā§āĻāĻāĻ°āĻž āĻāĻ˛ā§āĻ˛ā§āĻ āĻāĻ°ā§āĻā§āĻ¨ āĻ¯ā§ āĻ¤ā§āĻ¤ā§āĻ¯āĻŧ āĻŦāĻŋāĻļā§āĻŦā§āĻ° āĻŽāĻžāĻ¨ā§āĻˇāĻ°āĻž āĻ¨ā§āĻāĻŽāĻ¨āĻž āĻāĻŦāĻ āĻ°āĻā§āĻˇāĻŖāĻļā§āĻ˛ āĻāĻŋāĻ˛ āĨ¤ āĻ āĻ¨ā§āĻ¯āĻĻāĻŋāĻā§, āĻ¸āĻžāĻŽā§āĻ°āĻžāĻā§āĻ¯āĻŦāĻžāĻĻā§āĻ°āĻž āĻā§āĻŦāĻ āĻ¸ā§āĻĻā§āĻ°āĻĒā§āĻ°āĻ¸āĻžāĻ°ā§ āĻāĻŦāĻ āĻāĻĻā§āĻŦāĻŋāĻā§āĻ¨ āĻāĻŋāĻ˛ āĨ¤ āĻāĻāĻāĻžāĻŦā§, āĻŦāĻŋāĻĻā§āĻļā§ āĻāĻĒāĻ¨āĻŋāĻŦā§āĻļāĻā§āĻ˛āĻŋāĻ° āĻ¸āĻāĻ¸ā§āĻā§āĻ¤āĻŋ āĻ¸āĻžāĻŽā§āĻ°āĻžāĻā§āĻ¯āĻŦāĻžāĻĻā§āĻĻā§āĻ° āĻšāĻžāĻ¤āĻŋāĻ¯āĻŧāĻžāĻ°ā§ āĻĒāĻ°āĻŋāĻŖāĻ¤ āĻšāĻ¯āĻŧā§āĻāĻŋāĻ˛ āĨ¤
Ethical power of culture
The imperialists of Britain and France were the so-called light bearers and makers of civilization. They went to spread the light of education and religion that was not only so-called but also namely to make the people of overseas colonies fool. In Saidâs analysis, the search of trade and commerce and civilizing missions in India and Africa provided an ethical power to the colonialists but they went to the countries for looting and dominating. Despite this, they were unquestionable to the international community for almost two centuries due to their surface motives of civilizing and trade and commerce. Hence Said suggests checking culture before the entrance.
âCulture conceived in this way can become a protective enclosure:
check your politics at the door before you enter it.â
āĻ¸āĻāĻ¸ā§āĻā§āĻ¤āĻŋāĻ° āĻ¨ā§āĻ¤āĻŋāĻ āĻļāĻā§āĻ¤āĻŋ
āĻŦā§āĻ°āĻŋāĻā§āĻ¨ āĻāĻŦāĻ āĻĢā§āĻ°āĻžāĻ¨ā§āĻ¸ā§āĻ° āĻ¸āĻžāĻŽā§āĻ°āĻžāĻā§āĻ¯āĻŦāĻžāĻĻā§āĻĻā§āĻ° āĻ¤āĻĨāĻžāĻāĻĨāĻŋāĻ¤ āĻāĻ˛ā§āĻ āĻŦāĻšāĻ¨āĻāĻžāĻ°ā§ āĻāĻŦāĻ āĻ¸āĻā§āĻ¯āĻ¤āĻžāĻ° āĻ¨āĻŋāĻ°ā§āĻŽāĻžāĻ¤āĻž āĻŦāĻ˛āĻž āĻšāĻ¤ā§ āĨ¤ āĻ¤āĻžāĻ°āĻž āĻļāĻŋāĻā§āĻˇāĻž āĻāĻŦāĻ āĻ§āĻ°ā§āĻŽā§āĻ° āĻāĻ˛ā§ āĻāĻĄāĻŧāĻŋāĻ¯āĻŧā§ āĻĻāĻŋāĻ¤ā§ āĻāĻŋāĻ¯āĻŧā§āĻāĻŋāĻ˛ āĻ¯āĻž āĻā§āĻŦāĻ˛ āĻ¤āĻĨāĻžāĻāĻĨāĻŋāĻ¤āĻ āĻāĻŋāĻ˛ āĻ¨āĻž āĻŦāĻ°āĻ āĻŦāĻŋāĻĻā§āĻļā§ āĻāĻĒāĻ¨āĻŋāĻŦā§āĻļā§āĻ° āĻāĻ¨āĻāĻŖāĻā§ āĻŦā§āĻāĻž āĻŦāĻžāĻ¨āĻžāĻ¨ā§āĻ° āĻāĻĻā§āĻĻā§āĻļā§āĻ¯ āĻ¸ā§āĻˇā§āĻāĻŋ āĻāĻ°ā§āĻāĻŋāĻ˛ āĨ¤ Said-āĻāĻ° āĻŦāĻŋāĻļā§āĻ˛ā§āĻˇāĻŖā§, āĻāĻžāĻ°āĻ¤ āĻ āĻāĻĢā§āĻ°āĻŋāĻāĻžāĻ° āĻā§āĻ°ā§āĻĄ, āĻāĻŽāĻžāĻ°ā§āĻ¸ āĻāĻŦāĻ āĻ¸āĻā§āĻ¯āĻ¤āĻžāĻ° āĻ āĻ¨ā§āĻ¸āĻ¨ā§āĻ§āĻžāĻ¨āĻā§āĻ˛ā§ āĻāĻĒāĻ¨āĻŋāĻŦā§āĻļāĻŦāĻžāĻĻā§āĻĻā§āĻ° āĻ¨ā§āĻ¤āĻŋāĻ āĻļāĻā§āĻ¤āĻŋ āĻĒā§āĻ°āĻĻāĻžāĻ¨ āĻāĻ°ā§āĻāĻŋāĻ˛ āĻāĻŋāĻ¨ā§āĻ¤ā§ āĻ¤āĻžāĻ°āĻž āĻ˛ā§āĻāĻĒāĻžāĻ āĻāĻŦāĻ āĻāĻ§āĻŋāĻĒāĻ¤ā§āĻ¯ā§āĻ° āĻāĻ¨ā§āĻ¯ āĻĻā§āĻļāĻā§āĻ˛ā§āĻ¤ā§ āĻāĻŋāĻ¯āĻŧā§āĻāĻŋāĻ˛ āĨ¤ āĻ¤āĻž āĻ¸āĻ¤ā§āĻ¤ā§āĻŦā§āĻ, āĻ¸āĻā§āĻ¯āĻ¤āĻž, āĻā§āĻ°ā§āĻĄ āĻ āĻāĻŽāĻžāĻ°ā§āĻ¸ā§āĻ° āĻāĻĻā§āĻĻā§āĻļā§āĻ¯āĻā§āĻ˛ā§āĻ° āĻāĻžāĻ°āĻŖā§ āĻ¤āĻžāĻ°āĻž āĻĒā§āĻ°āĻžāĻ¯āĻŧ āĻĻā§āĻ āĻļāĻ¤āĻžāĻŦā§āĻĻā§ āĻ§āĻ°ā§ āĻāĻ¨ā§āĻ¤āĻ°ā§āĻāĻžāĻ¤āĻŋāĻ āĻ¸āĻŽā§āĻĒā§āĻ°āĻĻāĻžāĻ¯āĻŧā§āĻ° āĻāĻžāĻā§ āĻ¸āĻ¨ā§āĻĻā§āĻšāĻžāĻ¤ā§āĻ¤ āĻāĻŋāĻ˛ āĨ¤ āĻ¤āĻžāĻ Said āĻ¸āĻāĻ¸ā§āĻā§āĻ¤āĻŋāĻ¤ā§ āĻĒā§āĻ°āĻŦā§āĻļā§āĻ° āĻāĻā§ āĻ¤āĻž āĻ¯āĻžāĻāĻžāĻ āĻāĻ°āĻžāĻ° āĻĒāĻ°āĻžāĻŽāĻ°ā§āĻļ āĻĻā§āĻ¨āĨ¤
âāĻāĻāĻāĻžāĻŦā§ āĻāĻ˛ā§āĻĒāĻ¨āĻž āĻāĻ°āĻž āĻ¸āĻāĻ¸ā§āĻā§āĻ¤āĻŋ āĻāĻāĻāĻŋ āĻĒā§āĻ°āĻ¤āĻŋāĻ°āĻā§āĻˇāĻžāĻŽā§āĻ˛āĻ āĻā§āĻ°ā§ āĻĒāĻ°āĻŋāĻŖāĻ¤ āĻšāĻ¤ā§ āĻĒāĻžāĻ°ā§:
āĻāĻĒāĻ¨āĻžāĻ° āĻ°āĻžāĻāĻ¨ā§āĻ¤āĻŋāĻ¤ā§ āĻĒā§āĻ°āĻŦā§āĻļā§āĻ° āĻāĻā§ āĻ¤āĻž āĻ¯āĻžāĻāĻžāĻ āĻāĻ°ā§ āĻĻā§āĻā§āĻ¨ āĨ¤â
Literature as an institution of culture
It is universally accepted that literature is the mirror of society. Said opines through poetry, fiction, and philosophy teach how to practice and venerate culture, they discourse colonialism in an indirectly deep way. As a result, most professional humanists have been unable to connect between the prolonged practice of imperialism and the culture of literature. Here in this essay, Said especially talks about narrative fiction, novels, which play a vital role in the expansion of imperialism in the camouflage of culture.
âIn thinking of Carlyle or Ruskin, or even Dickens and Thackeray, critics have often,
I believe, relegated these writersâ ideas about colonial expansion,â
He gives evidence by mentioning and illustrating sundry novels such as âGreat Expectationsâ (1861) by Charles Dickens (1812-1870) which is primarily a novel of self-delusion or misconception about oneself but deeply it is a rogue one of practicing penal colony in Australia. âNostromoâ published in 1904 by Joseph Conrad (1857-1924) regarding the proliferation and malformation of imperialism in the South American Republic allows the readers to see that imperialism is a system. Therefore, literary culture is an instrument of imperialism.
āĻ¸āĻāĻ¸ā§āĻā§āĻ¤āĻŋāĻ° āĻāĻāĻāĻŋ āĻĒā§āĻ°āĻ¤āĻŋāĻˇā§āĻ āĻžāĻ¨ āĻšāĻŋāĻ¸āĻžāĻŦā§ āĻ¸āĻžāĻšāĻŋāĻ¤ā§āĻ¯
āĻāĻāĻž āĻ¸āĻ°ā§āĻŦāĻāĻ¨āĻ¸ā§āĻŦā§āĻā§āĻ¤ āĻ¯ā§ āĻ¸āĻžāĻšāĻŋāĻ¤ā§āĻ¯āĻ āĻ¸āĻŽāĻžāĻā§āĻ° āĻāĻ¯āĻŧāĻ¨āĻž āĨ¤ Said āĻŦāĻ˛ā§āĻā§āĻ¨, āĻ¯āĻĻāĻŋāĻ āĻāĻŦāĻŋāĻ¤āĻž, āĻāĻ˛ā§āĻĒāĻāĻžāĻšāĻŋāĻ¨ā§ āĻāĻŦāĻ āĻĻāĻ°ā§āĻļāĻ¨ āĻ¸āĻāĻ¸ā§āĻā§āĻ¤āĻŋ-āĻāĻ°ā§āĻāĻž āĻ āĻ¸āĻāĻ¸ā§āĻā§āĻ¤āĻŋāĻā§ āĻļā§āĻ°āĻĻā§āĻ§āĻž āĻāĻ°āĻ¤ā§ āĻļā§āĻāĻžāĻ¯āĻŧ, āĻ¤āĻžāĻ°āĻž āĻāĻĒāĻ¨āĻŋāĻŦā§āĻļāĻŦāĻžāĻĻāĻā§ āĻĒāĻ°ā§āĻā§āĻˇāĻāĻžāĻŦā§ āĻāĻā§āĻ° āĻāĻĒāĻžāĻ¯āĻŧā§ āĻāĻ˛ā§āĻāĻ¨āĻž āĻāĻ°ā§ āĨ¤ āĻĢāĻ˛āĻ¸ā§āĻŦāĻ°ā§āĻĒ, āĻŦā§āĻļāĻŋāĻ°āĻāĻžāĻ āĻĒā§āĻļāĻžāĻĻāĻžāĻ° āĻŽāĻžāĻ¨āĻŦāĻ¤āĻžāĻŦāĻžāĻĻā§āĻ°āĻž āĻĻā§āĻ°ā§āĻāĻāĻžāĻ˛ āĻ¸āĻžāĻŽā§āĻ°āĻžāĻā§āĻ¯āĻŦāĻžāĻĻā§āĻ° āĻāĻ°ā§āĻāĻž āĻāĻŦāĻ āĻ¸āĻžāĻšāĻŋāĻ¤ā§āĻ¯ā§āĻ° āĻ¸āĻāĻ¸ā§āĻā§āĻ¤āĻŋāĻ° āĻŽāĻ§ā§āĻ¯ā§ āĻ¸āĻāĻ¯ā§āĻ āĻ¸ā§āĻĨāĻžāĻĒāĻ¨ āĻāĻ°āĻ¤ā§ āĻ āĻā§āĻˇāĻŽ āĻšāĻ¯āĻŧā§āĻā§ āĨ¤ āĻāĻāĻžāĻ¨ā§ āĻāĻ āĻĒā§āĻ°āĻŦāĻ¨ā§āĻ§ā§, Said āĻŦāĻŋāĻļā§āĻˇāĻ¤ āĻŦāĻ°ā§āĻŖāĻ¨āĻžāĻŽā§āĻ˛āĻ āĻāĻ˛ā§āĻĒāĻāĻžāĻšāĻŋāĻ¨ā§, āĻāĻĒāĻ¨ā§āĻ¯āĻžāĻ¸ āĻ¸āĻŽā§āĻĒāĻ°ā§āĻā§ āĻāĻĨāĻž āĻŦāĻ˛ā§āĻā§āĻ¨ āĻ¯ā§āĻā§āĻ˛ā§ āĻ¸āĻāĻ¸ā§āĻā§āĻ¤āĻŋāĻ° āĻāĻĻā§āĻŽāĻŦā§āĻļā§ āĻ¸āĻžāĻŽā§āĻ°āĻžāĻā§āĻ¯āĻŦāĻžāĻĻā§āĻ° āĻĒā§āĻ°āĻ¸āĻžāĻ°ā§āĻ° āĻāĻ¨ā§āĻ¯ āĻā§āĻ°ā§āĻ¤ā§āĻŦāĻĒā§āĻ°ā§āĻŖ āĻā§āĻŽāĻŋāĻāĻž āĻĒāĻžāĻ˛āĻ¨ āĻāĻ°ā§ āĨ¤
âCarlyle āĻŦāĻž Ruskin, āĻāĻŽāĻ¨āĻāĻŋ Dickens āĻāĻŦāĻ ThackerayāĻ° āĻāĻĨāĻž āĻā§āĻŦā§ āĻ¸āĻŽāĻžāĻ˛ā§āĻāĻāĻ°āĻž āĻĒā§āĻ°āĻžāĻ¯āĻŧāĻļāĻ,
āĻāĻŽāĻŋ āĻŦāĻŋāĻļā§āĻŦāĻžāĻ¸ āĻāĻ°āĻŋ, āĻāĻ āĻ˛ā§āĻāĻāĻĻā§āĻ° āĻ§āĻžāĻ°āĻŖāĻžāĻā§ āĻāĻĒāĻ¨āĻŋāĻŦā§āĻļāĻŋāĻ āĻĒā§āĻ°āĻ¸āĻžāĻ°ā§āĻ° āĻāĻĒāĻ° āĻ¨ā§āĻ¯āĻ¸ā§āĻ¤ āĻāĻ°ā§āĻā§āĻ¨,â
āĻ¤āĻŋāĻ¨āĻŋ Charles Dickens (1812-1870) āĻ°āĻāĻŋāĻ¤ âGreat Expectationsâ (1861) -āĻāĻ° āĻŽāĻ¤ā§ āĻ¸ā§āĻŦāĻ¤āĻ¨ā§āĻ¤ā§āĻ° āĻāĻĒāĻ¨ā§āĻ¯āĻžāĻ¸āĻā§āĻ˛ā§ āĻāĻ˛ā§āĻ˛ā§āĻ āĻāĻŦāĻ āĻŦāĻŋāĻļā§āĻ˛ā§āĻˇāĻŖ āĻāĻ°ā§ āĻĒā§āĻ°āĻŽāĻžāĻŖ āĻĻāĻŋāĻ¯āĻŧā§āĻā§āĻ¨ āĻ¯āĻž āĻŽā§āĻ˛āĻ¤ āĻ¨āĻŋāĻā§āĻ° āĻ¸āĻŽā§āĻĒāĻ°ā§āĻā§ āĻŦāĻŋāĻā§āĻ°āĻžāĻ¨ā§āĻ¤āĻŋ āĻŦāĻž āĻā§āĻ˛ āĻ§āĻžāĻ°āĻŖāĻž āĻ§āĻžāĻ°āĻŖāĻžāĻ° āĻāĻāĻāĻŋ āĻāĻĒāĻ¨ā§āĻ¯āĻžāĻ¸ āĻ¤āĻŦā§ āĻāĻā§āĻ°āĻāĻžāĻŦā§ āĻāĻāĻŋ āĻ āĻ¸ā§āĻā§āĻ°ā§āĻ˛āĻŋāĻ¯āĻŧāĻžāĻ¯āĻŧ āĻĒā§āĻ¨āĻžāĻ˛ āĻāĻ˛ā§āĻ¨ā§ āĻ āĻ¨ā§āĻļā§āĻ˛āĻ¨āĻāĻžāĻ°ā§āĻĻā§āĻ° āĻŽāĻ§ā§āĻ¯ā§ āĻ āĻ¨ā§āĻ¯āĻ¤āĻŽ āĻĒā§āĻ°āĻ¤āĻžāĻ°āĻ āĨ¤ ā§§ā§¯ā§Ļā§Ē āĻ¸āĻžāĻ˛ā§ āĻĒā§āĻ°āĻāĻžāĻļāĻŋāĻ¤ Joseph Conrad (1857-1924)-āĻāĻ° âNostromoâ āĻĻāĻā§āĻˇāĻŋāĻŖ āĻāĻŽā§āĻ°āĻŋāĻāĻž āĻĒā§āĻ°āĻāĻžāĻ¤āĻ¨ā§āĻ¤ā§āĻ°ā§āĻ° āĻ¸āĻžāĻŽā§āĻ°āĻžāĻā§āĻ¯āĻŦāĻžāĻĻā§āĻ° āĻŦāĻŋāĻ¸ā§āĻ¤āĻžāĻ° āĻ āĻŦāĻŋāĻā§āĻ¤āĻŋ āĻ¸āĻŽā§āĻĒāĻ°ā§āĻā§ āĻĒāĻžāĻ āĻāĻĻā§āĻ° āĻāĻžāĻā§ āĻ¤ā§āĻ˛ā§ āĻ§āĻ°ā§ āĻ¯ā§ āĻ¸āĻžāĻŽā§āĻ°āĻžāĻā§āĻ¯āĻŦāĻžāĻĻ āĻāĻāĻāĻŋ āĻŦā§āĻ¯āĻŦāĻ¸ā§āĻĨāĻžāĨ¤ āĻāĻāĻāĻ¨ā§āĻ¯ āĻ¸āĻžāĻšāĻŋāĻ¤ā§āĻ¯ āĻ¸āĻāĻ¸ā§āĻā§āĻ¤āĻŋ āĻ¸āĻžāĻŽā§āĻ°āĻžāĻā§āĻ¯āĻŦāĻžāĻĻā§āĻ° āĻāĻāĻāĻŋ āĻāĻĒāĻāĻ°āĻŖ āĨ¤
Immigrating culture
Immigrating culture is an instrument of post-colonial capitalism. Edward Said relates that imperialism exists even in 20th century but not in shape of 18th and 19th centuries because in fine of the essay he asserts:
âThis is a book about past and present, about us and them.â
It has changed its fervidity and character through capitalism and globalization process. The people of third world are immigrating to the capitalistsâ countries in search of better fortunes that is also a strong token of subservience and separation.
āĻ¸āĻāĻ¸ā§āĻā§āĻ¤āĻŋāĻ° āĻ āĻāĻŋāĻŦāĻžāĻ¸āĻ¨
āĻāĻĒāĻ¨āĻŋāĻŦā§āĻļāĻŋāĻ āĻĒā§āĻāĻāĻŋāĻŦāĻžāĻĻā§āĻ° āĻāĻāĻāĻŋ āĻāĻĒāĻāĻ°āĻŖ āĻšāĻ˛ā§ āĻāĻŽāĻŋāĻā§āĻ°ā§āĻ¯āĻžāĻāĻŋāĻ āĻ¸āĻāĻ¸ā§āĻā§āĻ¤āĻŋāĨ¤ Edward Said āĻŦāĻ°ā§āĻŖāĻ¨āĻž āĻāĻ°ā§āĻā§āĻ¨ āĻ¯ā§ āĻ¸āĻžāĻŽā§āĻ°āĻžāĻā§āĻ¯āĻŦāĻžāĻĻ āĻŦāĻŋāĻāĻļ āĻļāĻ¤āĻžāĻŦā§āĻĻā§āĻ¤ā§āĻ āĻŦāĻŋāĻĻā§āĻ¯āĻŽāĻžāĻ¨ āĻ¤āĻŦā§ ā§§ā§Ž āĻāĻŦāĻ ā§§ā§¯ āĻļāĻ¤āĻā§āĻ° āĻŽāĻ¤ā§ āĻ¨āĻ¯āĻŧ āĻāĻžāĻ°āĻŖ āĻ¤āĻŋāĻ¨āĻŋ āĻ°āĻāĻ¨āĻžāĻāĻŋāĻ¤ā§ āĻŦāĻ˛ā§āĻā§āĻ¨:
âāĻāĻāĻŋ āĻāĻŽāĻžāĻĻā§āĻ° āĻāĻŦāĻ āĻ¤āĻžāĻĻā§āĻ° āĻ āĻ¤ā§āĻ¤ āĻ āĻŦāĻ°ā§āĻ¤āĻŽāĻžāĻ¨ āĻ¸āĻŽā§āĻĒāĻ°ā§āĻā§ āĻāĻāĻāĻŋ āĻŦāĻ āĨ¤â
āĻāĻāĻŋ āĻĒā§āĻāĻāĻŋāĻŦāĻžāĻĻ āĻāĻŦāĻ āĻŦāĻŋāĻļā§āĻŦāĻžāĻ¯āĻŧāĻ¨ āĻĒā§āĻ°āĻā§āĻ°āĻŋāĻ¯āĻŧāĻžāĻāĻŋāĻ° āĻŽāĻžāĻ§ā§āĻ¯āĻŽā§ āĻ¤āĻžāĻ° āĻŦā§āĻšāĻžāĻ¯āĻŧāĻžāĻĒāĻ¨āĻž āĻ āĻāĻ°āĻŋāĻ¤ā§āĻ°āĻā§ āĻĒāĻ°āĻŋāĻŦāĻ°ā§āĻ¤āĻ¨ āĻāĻ°ā§āĻā§ āĨ¤ āĻ¤ā§āĻ¤ā§āĻ¯āĻŧ āĻŦāĻŋāĻļā§āĻŦā§āĻ° āĻ˛ā§āĻā§āĻ°āĻž āĻāĻ°āĻ āĻŦā§āĻļāĻŋ āĻāĻžāĻā§āĻ¯ā§āĻ° āĻ¸āĻ¨ā§āĻ§āĻžāĻ¨ā§ āĻĒā§āĻāĻāĻŋāĻĒāĻ¤āĻŋāĻĻā§āĻ° āĻĻā§āĻļāĻā§āĻ˛āĻŋāĻ¤ā§ āĻ āĻāĻŋāĻŦāĻžāĻ¸āĻŋāĻ¤ āĻšāĻā§āĻā§ āĻ¯āĻž āĻāĻā§āĻāĻžāĻŦāĻšāĻ¤āĻž āĻ āĻŦāĻŋāĻā§āĻāĻŋāĻ¨ā§āĻ¨āĻ¤āĻžāĻ° āĻĻā§āĻĸāĻŧāĻ¤āĻŽ āĻĒā§āĻ°āĻ¤ā§āĻ āĨ¤
Conclusion: To sum up, Edward Said is such a genius who reveals the secret of improved culture as the instrument of imperialism and capitalism in a convincing and fabulous way so that the countries of this universe can enjoy freedom and sovereignty being aware of culture.
4. How does Eagleton evaluate the Romantics? Discuss.
Introduction: Terry Eagleton (1943- ) in his âThe Rise of Englishâ represents that the modern sense of the word âLiteratureâ started in the nineteenth century. The Romantic period (1798-1832) was the mark of transition or change that is why the true definition of literature began to develop in this period.
āĻā§āĻŽāĻŋāĻāĻž: āĻā§āĻ°āĻŋ āĻāĻāĻ˛āĻāĻ¨ (1943-) āĻ¤āĻžāĻāĻ° “āĻĻāĻž āĻ°āĻžāĻāĻ¸ āĻ āĻĢ āĻāĻāĻ˛āĻŋāĻļ” -āĻ āĻāĻĒāĻ¸ā§āĻĨāĻžāĻĒāĻ¨ āĻāĻ°ā§āĻā§āĻ¨ āĻ¯ā§ “āĻ¸āĻžāĻšāĻŋāĻ¤ā§āĻ¯” āĻļāĻŦā§āĻĻā§āĻ° āĻāĻ§ā§āĻ¨āĻŋāĻ āĻāĻĒāĻ˛āĻŦā§āĻ§āĻŋ āĻāĻ¨āĻŋāĻļ āĻļāĻ¤āĻā§ āĻļā§āĻ°ā§ āĻšāĻ¯āĻŧā§āĻāĻŋāĻ˛ āĨ¤ āĻ°ā§āĻŽāĻžāĻ¨ā§āĻāĻŋāĻ āĻ¸āĻŽāĻ¯āĻŧāĻāĻžāĻ˛ (1798-1832) āĻāĻŋāĻ˛ āĻ°ā§āĻĒāĻžāĻ¨ā§āĻ¤āĻ° āĻŦāĻž āĻĒāĻ°āĻŋāĻŦāĻ°ā§āĻ¤āĻ¨ā§āĻ° āĻ¨āĻŋāĻĻāĻ°ā§āĻļāĻ¨ āĻāĻ āĻāĻ¨ā§āĻ¯āĻ āĻāĻ āĻ¸āĻŽāĻ¯āĻŧā§āĻ° āĻŽāĻ§ā§āĻ¯ā§ āĻ¸āĻžāĻšāĻŋāĻ¤ā§āĻ¯ā§āĻ° āĻāĻ¸āĻ˛ āĻ¸āĻāĻā§āĻāĻžāĻ° āĻŦāĻŋāĻāĻžāĻļ āĻļā§āĻ°ā§ āĻšāĻ¯āĻŧā§āĻāĻŋāĻ˛ āĨ¤
The implementor of modern English literature
In the third para of the essay, the essayist has upheld the modern sense of literature. According to him, âliterature is a historically recent phenomenon: it was invented sometime around the turn of the eighteen century and would have thought extremely strange by Chaucer (1343-1400) and even Pope (1688-1744)â. By this Eagleton means to say that the modernity of English literature started in the middle English period by the hand of Geoffrey Chaucer who is considered to be the father of English poetry but it was really incomplete and Chaucer was only the seeder of modernity. By the second part of the modern sense of literature, Eagleton implies that the true modern sense of English literature started positively in the eighteenth Century but this time was also incomplete, but better than that of Chaucer, as creative or imaginative literary work was so-called. So, till the final decades of eighteenth century true modern sense of literature was not completed.
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āĻĒā§āĻ°āĻŦāĻ¨ā§āĻ§ā§āĻ° āĻ¤ā§āĻ¤ā§āĻ¯āĻŧ āĻ āĻ¨ā§āĻā§āĻā§āĻĻā§ āĻĒā§āĻ°āĻŦāĻ¨ā§āĻ§āĻāĻžāĻ° āĻ¸āĻžāĻšāĻŋāĻ¤ā§āĻ¯ā§āĻ° āĻāĻ§ā§āĻ¨āĻŋāĻ āĻŦā§āĻ§āĻā§ āĻ¸āĻŽāĻ°ā§āĻĨāĻ¨ āĻāĻ°ā§āĻā§āĻ¨ āĨ¤ āĻ¤āĻžāĻāĻ° āĻŽāĻ¤ā§, “āĻ¸āĻžāĻšāĻŋāĻ¤ā§āĻ¯ āĻāĻ¤āĻŋāĻšāĻžāĻ¸āĻŋāĻāĻāĻžāĻŦā§ āĻāĻāĻāĻŋ āĻ¸āĻžāĻŽā§āĻĒā§āĻ°āĻ¤āĻŋāĻ āĻāĻāĻ¨āĻž: āĻāĻāĻŋ āĻāĻ āĻžāĻ°ā§ āĻļāĻ¤āĻā§āĻ° āĻļā§āĻˇā§āĻ° āĻĻāĻŋāĻā§ āĻāĻŦāĻŋāĻˇā§āĻāĻžāĻ° āĻāĻ°āĻž āĻšāĻ¯āĻŧā§āĻāĻŋāĻ˛ āĻāĻŦāĻ āĻāĻ¸āĻžāĻ° (ā§§ā§Šā§Šā§Ē-ā§§ā§Ēā§Ļā§Ļ) āĻāĻŽāĻ¨āĻāĻŋ āĻĒā§āĻĒ (ā§§88ā§Žā§Ž-ā§§4ā§Ēā§Ē) āĻĻā§āĻŦāĻžāĻ°āĻž āĻāĻāĻŋ āĻ āĻ¤ā§āĻ¯āĻ¨ā§āĻ¤ āĻŦāĻŋāĻ¸ā§āĻŽāĻ¯āĻŧāĻāĻ° āĻŦāĻ˛ā§ āĻŽāĻ¨ā§ āĻšāĻ¤” āĨ¤ āĻāĻāĻŋ āĻĻā§āĻŦāĻžāĻ°āĻž āĻāĻāĻ˛āĻāĻ¨ āĻŦāĻ˛āĻ¤ā§ āĻāĻžāĻ¯āĻŧ āĻ¯ā§ āĻāĻāĻ°ā§āĻāĻŋ āĻ¸āĻžāĻšāĻŋāĻ¤ā§āĻ¯ā§āĻ° āĻāĻ§ā§āĻ¨āĻŋāĻāĻ¤āĻž āĻŽāĻ§ā§āĻ¯ āĻāĻāĻ°ā§āĻāĻŋ āĻ¸āĻŽāĻ¯āĻŧ āĻĨā§āĻā§āĻ āĻļā§āĻ°ā§ āĻšāĻ¯āĻŧā§āĻāĻŋāĻ˛ āĻāĻŋāĻāĻĢā§āĻ°ā§ āĻāĻ¸āĻžāĻ°ā§āĻ° āĻšāĻžāĻ¤ āĻ§āĻ°ā§ āĻ¯āĻžāĻā§ āĻāĻāĻ°ā§āĻāĻŋ āĻāĻŦāĻŋāĻ¤āĻžāĻ° āĻāĻ¨āĻ āĻšāĻŋāĻ¸āĻžāĻŦā§ āĻŦāĻŋāĻŦā§āĻāĻ¨āĻž āĻāĻ°āĻž āĻšāĻ¯āĻŧ āĻ¤āĻŦā§ āĻāĻāĻŋ āĻ¸āĻ¤ā§āĻ¯āĻŋāĻ āĻ āĻ¸āĻŽā§āĻĒā§āĻ°ā§āĻŖ āĻāĻŋāĻ˛ āĻāĻŦāĻ āĻāĻ¸āĻžāĻ°āĻ āĻā§āĻŦāĻ˛ āĻāĻ§ā§āĻ¨āĻŋāĻāĻ¤āĻžāĻ° āĻŦā§āĻāĻŦāĻĒāĻ āĻāĻŋāĻ˛ā§āĻ¨ āĨ¤ āĻ¸āĻžāĻšāĻŋāĻ¤ā§āĻ¯ā§āĻ° āĻāĻ§ā§āĻ¨āĻŋāĻ āĻŦā§āĻ§ā§āĻ° āĻĻā§āĻŦāĻŋāĻ¤ā§āĻ¯āĻŧ āĻ āĻāĻļā§āĻ° āĻŽāĻžāĻ§ā§āĻ¯āĻŽā§, āĻāĻāĻ˛āĻāĻ¨ āĻāĻā§āĻāĻŋāĻ¤ āĻĻā§āĻ¯āĻŧ āĻ¯ā§ āĻāĻāĻ°ā§āĻā§ āĻ¸āĻžāĻšāĻŋāĻ¤ā§āĻ¯ā§āĻ° āĻ¸āĻ¤ā§āĻ¯āĻŋāĻāĻžāĻ°ā§āĻ° āĻāĻ§ā§āĻ¨āĻŋāĻ āĻā§āĻāĻžāĻ¨āĻāĻŋ āĻāĻ āĻžāĻ°ā§ āĻļāĻ¤āĻā§ āĻāĻ¤āĻŋāĻŦāĻžāĻāĻāĻāĻžāĻŦā§ āĻļā§āĻ°ā§ āĻšāĻ¯āĻŧā§āĻāĻŋāĻ˛ āĻ¤āĻŦā§ āĻāĻ āĻ¸āĻŽāĻ¯āĻŧāĻāĻŋāĻ āĻ āĻ¸āĻŽā§āĻĒā§āĻ°ā§āĻŖ āĻāĻŋāĻ˛, āĻ¤āĻŦā§ āĻāĻ¸āĻžāĻ°ā§āĻ° āĻā§āĻ¯āĻŧā§āĻ āĻāĻžāĻ˛, āĻāĻžāĻ°āĻŖ āĻ¸ā§āĻāĻ¨āĻļā§āĻ˛ āĻŦāĻž āĻāĻ˛ā§āĻĒāĻ¨āĻžāĻĒā§āĻ°āĻ¸ā§āĻ¤ āĻ¸āĻžāĻšāĻŋāĻ¤ā§āĻ¯āĻāĻ°ā§āĻŽ āĻāĻŋāĻ˛ āĻ¤āĻĨāĻžāĻāĻĨāĻŋāĻ¤ āĨ¤ āĻ¸ā§āĻ¤āĻ°āĻžāĻ, āĻāĻ āĻžāĻ°ā§ āĻļāĻ¤āĻā§āĻ° āĻā§āĻĄāĻŧāĻžāĻ¨ā§āĻ¤ āĻĻāĻļāĻ āĻĒāĻ°ā§āĻ¯āĻ¨ā§āĻ¤ āĻ¸āĻžāĻšāĻŋāĻ¤ā§āĻ¯ā§āĻ° āĻ¸āĻ¤ā§āĻ¯āĻŋāĻāĻžāĻ°ā§āĻ° āĻāĻ§ā§āĻ¨āĻŋāĻ āĻā§āĻāĻžāĻ¨ āĻ¸āĻŽā§āĻĒāĻ¨ā§āĻ¨ āĻšāĻ¯āĻŧāĻ¨āĻŋ āĨ¤
Violator of the tradition with creativity
He points out that the final decades of the eighteen Century witnessed a new division and demarcation or indication of limitation of discourses. He mentions that English society got reorganized from the discursive or chaotic formation. Poetry comes to mean a good deal more than a verse when âDefence of Poetryâ, composed by P. B. Shelley (1792-1821), was published in 1821. âDefence of Poetryâ signifies a concept of human creativity that is radically opposite to the utilitarian ideology of early industrial capitalist England. This means that literature began to be synonymous with the imaginative that means to violate the tradition of poetry writing.
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āĻ¤āĻŋāĻ¨āĻŋ āĻāĻ˛ā§āĻ˛ā§āĻ āĻāĻ°ā§āĻā§āĻ¨ āĻ¯ā§ āĻāĻ āĻžāĻ°ā§ āĻļāĻ¤āĻā§āĻ° āĻļā§āĻˇ āĻĻāĻļāĻāĻā§āĻ˛āĻŋ āĻ¸āĻžāĻā§āĻˇā§āĻ¯ āĻĻā§āĻ¯āĻŧ āĻāĻāĻāĻŋ āĻ¨āĻ¤ā§āĻ¨ āĻŦāĻŋāĻāĻžāĻā§āĻ° āĻāĻŦāĻ āĻ¸ā§āĻŽāĻžāĻ¨āĻž āĻŦāĻž āĻŦāĻā§āĻ¤ā§āĻ¤āĻžāĻ° āĻ¸ā§āĻŽāĻžāĻŦāĻĻā§āĻ§āĻ¤āĻžāĻ° āĻāĻā§āĻāĻŋāĻ¤ āĻĻā§āĻ¯āĻŧ āĨ¤ āĻ¤āĻŋāĻ¨āĻŋ āĻāĻ˛ā§āĻ˛ā§āĻ āĻāĻ°ā§āĻā§āĻ¨ āĻ¯ā§ āĻāĻāĻ°ā§āĻā§ āĻ¸āĻŽāĻžāĻ āĻāĻ āĻŋāĻ¤ āĻšāĻ¯āĻŧā§āĻāĻŋāĻ˛ āĻŦāĻŋāĻā§āĻāĻŋāĻ¨ā§āĻ¨ āĻŦāĻž āĻŦāĻŋāĻļā§āĻā§āĻāĻ˛āĻžāĻŦāĻĻā§āĻ§ āĻāĻ āĻ¨ āĻĨā§āĻā§ āĨ¤ āĻāĻŦāĻŋāĻ¤āĻž āĻŦāĻ˛āĻ¤ā§ āĻĒāĻĻā§āĻ¯ā§āĻ° āĻā§āĻ¯āĻŧā§ āĻāĻāĻāĻŋ āĻāĻžāĻ˛ āĻā§āĻā§āĻ¤āĻŋāĻā§ āĻŦā§āĻāĻžāĻ¯āĻŧ āĻ¯āĻāĻ¨ āĻĒāĻŋ āĻŦāĻŋ āĻļā§āĻ˛āĻŋ (1792-1821) āĻĻā§āĻŦāĻžāĻ°āĻž āĻ°āĻāĻŋāĻ¤ “āĻĄāĻŋāĻĢā§āĻ¨ā§āĻ¸ āĻ āĻĢ āĻĒā§āĻ¯āĻŧā§āĻā§āĻ°āĻŋ” āĻĒā§āĻ°āĻāĻžāĻļāĻŋāĻ¤ āĻšāĻ¯āĻŧā§āĻāĻŋāĻ˛ 1821 āĻ¸āĻžāĻ˛ā§ āĨ¤ “āĻĄāĻŋāĻĢā§āĻ¨ā§āĻ¸ āĻ āĻĢ āĻĒā§āĻ¯āĻŧā§āĻā§āĻ°āĻŋ” āĻŽāĻžāĻ¨āĻŦ āĻ¸ā§āĻāĻ¨āĻļā§āĻ˛āĻ¤āĻžāĻ° āĻ§āĻžāĻ°āĻŖāĻžāĻā§ āĻā§āĻ°ā§āĻ¤ā§āĻŦ āĻĻā§āĻ¯āĻŧ āĻ¯āĻž āĻ¸āĻŽā§āĻĒā§āĻ°ā§āĻŖāĻ°ā§āĻĒā§ āĻŦāĻŋāĻĒāĻ°ā§āĻ¤ āĻĒā§āĻ°āĻžāĻĨāĻŽāĻŋāĻ āĻļāĻŋāĻ˛ā§āĻĒ āĻĒā§āĻāĻāĻŋāĻŦāĻžāĻĻā§ āĻāĻāĻ˛ā§āĻ¯āĻžāĻ¨ā§āĻĄā§āĻ° āĻāĻĒāĻ¯ā§āĻāĻŦāĻžāĻĻā§ āĻāĻĻāĻ°ā§āĻļā§āĻ° āĻŦāĻŋāĻĒāĻ°ā§āĻ¤ āĨ¤ āĻāĻ° āĻ āĻ°ā§āĻĨ āĻš’āĻ˛ āĻ¸āĻžāĻšāĻŋāĻ¤ā§āĻ¯āĻāĻŋ āĻāĻ˛ā§āĻĒāĻ¨āĻžāĻ° āĻ¸āĻŽāĻžāĻ°ā§āĻĨāĻ āĻšāĻ¤ā§ āĻļā§āĻ°ā§ āĻāĻ°ā§āĻāĻŋāĻ˛ āĻ¯āĻžāĻ° āĻ āĻ°ā§āĻĨ āĻāĻŦāĻŋāĻ¤āĻž āĻ˛ā§āĻāĻžāĻ° āĻāĻ¤āĻŋāĻšā§āĻ¯ āĻ˛āĻā§āĻāĻ¨ āĻāĻ°āĻž āĨ¤
Visionary and inventive thinker
Eagleton then illustrates that the term imaginative does not mean literary untrue. It actually means visionary and inventive thinking and creative power that is really scientific. He asserts that the imaginative vision of the Romantics is above the merely prosaic discourses. He also reminds us that only factual dramatic events cannot be the subject â matter for poetry or the creative one. Therefore, poetry which meant imagination in the Romantic Period was obviously over prose or âhard factâ.
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The introducer of aesthetic experience
He considers the Romantics to be the introducer of the ideas of the symbol and aesthetic experience in the modern English literature. He mentions the name of Coleridge side by side Kant Hegel, Schiller and others. Eagleton also mentions that the over-emphasis on aesthetic form and imaginative vision runs the risk of making literature a little isolated from social life. Thus, though literature gained its modern look for the first time in Romantic Period, it also got alienated from the realistic traits of the social events.
āĻ¨āĻžāĻ¨ā§āĻĻāĻ¨āĻŋāĻ āĻ āĻāĻŋāĻā§āĻāĻ¤āĻžāĻ° āĻĒāĻ°āĻŋāĻāĻ¯āĻŧāĻĻāĻžāĻ¤āĻž
āĻ¤āĻŋāĻ¨āĻŋ āĻāĻ§ā§āĻ¨āĻŋāĻ āĻāĻāĻ°ā§āĻāĻŋ āĻ¸āĻžāĻšāĻŋāĻ¤ā§āĻ¯ā§āĻ° āĻĒā§āĻ°āĻ¤ā§āĻ āĻāĻŦāĻ āĻ¨āĻžāĻ¨ā§āĻĻāĻ¨āĻŋāĻ āĻ āĻāĻŋāĻā§āĻāĻ¤āĻžāĻ° āĻ§āĻžāĻ°āĻŖāĻžāĻ° āĻĒā§āĻ°āĻŦāĻ°ā§āĻ¤āĻ āĻšāĻŋāĻ¸āĻžāĻŦā§ āĻ°ā§āĻŽāĻžāĻ¨ā§āĻāĻŋāĻāĻĻā§āĻ° āĻŦāĻŋāĻŦā§āĻāĻ¨āĻž āĻāĻ°ā§āĻ¨ āĨ¤ āĻ¤āĻŋāĻ¨āĻŋ āĻā§āĻ˛āĻ°āĻŋāĻ āĻāĻ° āĻĒāĻžāĻļāĻžāĻĒāĻžāĻļāĻŋ āĻā§āĻ¯āĻžāĻ¨ā§āĻ āĻšā§āĻā§āĻ˛, āĻļāĻŋāĻ˛āĻžāĻ° āĻĒā§āĻ°āĻŽā§āĻā§āĻ° āĻ¨āĻžāĻŽ āĻāĻ˛ā§āĻ˛ā§āĻ āĻāĻ°ā§āĻā§āĻ¨ āĨ¤ āĻāĻāĻ˛āĻāĻ¨ āĻāĻ°āĻ āĻāĻ˛ā§āĻ˛ā§āĻ āĻāĻ°ā§āĻā§āĻ¨ āĻ¯ā§ āĻ¨āĻžāĻ¨ā§āĻĻāĻ¨āĻŋāĻ āĻ°ā§āĻĒ āĻāĻŦāĻ āĻāĻžāĻ˛ā§āĻĒāĻ¨āĻŋāĻ āĻĻā§āĻˇā§āĻāĻŋāĻāĻā§āĻāĻŋāĻ° āĻ āĻ¤ā§āĻ¯āĻ§āĻŋāĻ āĻā§āĻ° āĻ¸āĻžāĻšāĻŋāĻ¤ā§āĻ¯āĻā§ āĻ¸āĻžāĻŽāĻžāĻāĻŋāĻ āĻā§āĻŦāĻ¨ āĻĨā§āĻā§ āĻāĻŋāĻā§āĻāĻž āĻŦāĻŋāĻā§āĻāĻŋāĻ¨ā§āĻ¨ āĻāĻ°āĻžāĻ° āĻā§āĻāĻāĻŋāĻ¤ā§ āĨ¤ āĻ¸ā§āĻ¤āĻ°āĻžāĻ, āĻ¯āĻĻāĻŋāĻ āĻ°ā§āĻŽā§āĻ¯āĻžāĻ¨ā§āĻāĻŋāĻ āĻĒāĻŋāĻ°āĻŋāĻ¯āĻŧāĻĄā§ āĻ¸āĻžāĻšāĻŋāĻ¤ā§āĻ¯ āĻĒā§āĻ°āĻĨāĻŽāĻŦāĻžāĻ°ā§āĻ° āĻŽāĻ¤ā§ āĻāĻ§ā§āĻ¨āĻŋāĻ āĻā§āĻšāĻžāĻ°āĻž āĻ āĻ°ā§āĻāĻ¨ āĻāĻ°ā§āĻāĻŋāĻ˛, āĻ¤āĻŦā§ āĻāĻāĻŋ āĻ¸āĻžāĻŽāĻžāĻāĻŋāĻ āĻāĻāĻ¨āĻžāĻā§āĻ˛āĻŋāĻ° āĻŦāĻžāĻ¸ā§āĻ¤āĻŦ āĻŦā§āĻļāĻŋāĻˇā§āĻā§āĻ¯ āĻĨā§āĻā§ āĻŦāĻŋāĻā§āĻāĻŋāĻ¨ā§āĻ¨ āĻšāĻ¯āĻŧā§ āĻĒāĻĄāĻŧā§āĻā§ āĨ¤
Conclusion: From the light of the above discussion, it is out and out neat and clean that Terry Eagleton evaluates the Romantics as the first complete modernists in the history of English literature.
5. How does Eliot refute Johnsonâs remark on the poet whom he classified as metaphysical?
Introduction: T. S. Eliot (1888-1965) is a celebrated poet critic and philosopher of the 20th century who has never been criticized as a critic in his lifetime and after his death even till now. He is a discoverer and defender in English literary criticism as he has defended and classified the so-called metaphysical poets.
āĻā§āĻŽāĻŋāĻāĻž: āĻāĻŋ āĻāĻ¸ āĻāĻ˛āĻŋāĻ¯āĻŧāĻ (1888-1965) ā§¨ā§Ļ āĻļāĻ¤āĻā§āĻ° āĻāĻāĻāĻ¨ āĻā§āĻ¯āĻžāĻ¤āĻŋāĻŽāĻžāĻ¨ āĻāĻŦāĻŋ, āĻ¸āĻŽāĻžāĻ˛ā§āĻāĻ āĻāĻŦāĻ āĻĻāĻžāĻ°ā§āĻļāĻ¨āĻŋāĻ āĻ¯āĻŋāĻ¨āĻŋ āĻ¤āĻžāĻāĻ° āĻā§āĻŦāĻĻā§āĻĻāĻļāĻžāĻ¯āĻŧ āĻāĻŦāĻ āĻ¤āĻžāĻāĻ° āĻŽā§āĻ¤ā§āĻ¯ā§āĻ° āĻĒāĻ°ā§āĻ āĻāĻāĻ¨āĻ āĻ¸āĻŽāĻžāĻ˛ā§āĻāĻ āĻšāĻŋāĻ¸āĻžāĻŦā§ āĻ¸āĻŽāĻžāĻ˛ā§āĻāĻŋāĻ¤ āĻšāĻ¨ āĻ¨āĻŋāĨ¤ āĻ¤āĻŋāĻ¨āĻŋ āĻ¤āĻĨāĻžāĻāĻĨāĻŋāĻ¤ āĻŽā§āĻāĻžāĻĢāĻŋāĻāĻŋāĻā§āĻ¯āĻžāĻ˛ āĻāĻŦāĻŋāĻĻā§āĻ° āĻĒā§āĻ°āĻ¤āĻŋāĻ°āĻā§āĻˇāĻž āĻāĻŦāĻ āĻļā§āĻ°ā§āĻŖāĻŋāĻŦāĻĻā§āĻ§ āĻāĻ°ā§āĻā§āĻ¨ āĻŦāĻ˛ā§ āĻ¤āĻŋāĻ¨āĻŋ āĻāĻāĻ°ā§āĻā§ āĻ¸āĻžāĻšāĻŋāĻ¤ā§āĻ¯ā§āĻ° āĻ¸āĻŽāĻžāĻ˛ā§āĻāĻ¨āĻžāĻ¯āĻŧ āĻāĻāĻāĻ¨ āĻāĻŦāĻŋāĻˇā§āĻāĻžāĻ°āĻ āĻāĻŦāĻ āĻ°āĻā§āĻˇāĻžāĻāĻ°ā§āĻ¤āĻžāĨ¤
Origin of crude criticism against metaphysical poets
The term âmetaphysical poetsâ has been criticized by critics from time to time in the history of English literature. This term was first rebuked by Dryden in 1692 and later by Samuel Johnson. The remark or observation of Dryden and Johnson on Donne is:
âMetaphysics as a pretense Donne boasted his erudition or wisdom.
Even with syllables and rime, not poet but mere technician.â
In the modern period, Professor Griersonâs book âMetaphysical Lyrics and Poems of the Seventeenth Century: Donne to Butler (1921) is a piece of criticism and provocation of criticism for metaphysical poets. But for the first time, T. S. Eliot comes forward to defend and recognize the so-called metaphysical poets.
āĻŽā§āĻāĻžāĻĢāĻŋāĻāĻŋāĻā§āĻ¯āĻžāĻ˛ āĻāĻŦāĻŋāĻĻā§āĻ° āĻŦāĻŋāĻ°ā§āĻĻā§āĻ§ā§ āĻ āĻĒāĻ°āĻŋāĻļā§āĻ§āĻŋāĻ¤ āĻ¸āĻŽāĻžāĻ˛ā§āĻāĻ¨āĻžāĻ° āĻāĻ¤ā§āĻĒāĻ¤ā§āĻ¤āĻŋ
āĻāĻāĻ°ā§āĻā§ āĻ¸āĻžāĻšāĻŋāĻ¤ā§āĻ¯ā§āĻ° āĻāĻ¤āĻŋāĻšāĻžāĻ¸ā§ “āĻŽā§āĻāĻžāĻĢāĻŋāĻāĻŋāĻā§āĻ¯āĻžāĻ˛ āĻāĻŦāĻŋ ” āĻļāĻŦā§āĻĻāĻāĻŋ āĻ¸āĻŽāĻžāĻ˛ā§āĻāĻāĻĻā§āĻ° āĻĻā§āĻŦāĻžāĻ°āĻž āĻ¸āĻŽāĻ¯āĻŧā§ āĻ¸āĻŽāĻ¯āĻŧā§ āĻ¸āĻŽāĻžāĻ˛ā§āĻāĻŋāĻ¤ āĻšāĻ¯āĻŧā§āĻāĻŋāĻ˛āĨ¤ āĻāĻ āĻļāĻŦā§āĻĻāĻāĻŋ āĻĒā§āĻ°āĻĨāĻŽā§ 1692 āĻ¸āĻžāĻ˛ā§ āĻĄā§āĻ°āĻžāĻāĻĄā§āĻ¨ āĻāĻŦāĻ āĻĒāĻ°ā§ āĻ¸ā§āĻ¯āĻžāĻŽā§āĻ¯āĻŧā§āĻ˛ āĻāĻ¨āĻ¸āĻ¨ āĻĻā§āĻŦāĻžāĻ°āĻž āĻ¸ā§āĻŽāĻžāĻ˛ā§āĻāĻ¨āĻž āĻāĻ°āĻž āĻšāĻ¯āĻŧā§āĻāĻŋāĻ˛āĨ¤ āĻāĻ¨ āĻĄāĻžāĻ¨ā§āĻ° āĻāĻĒāĻ°ā§ āĻĄā§āĻ°āĻžāĻāĻĄā§āĻ¨ āĻ āĻāĻ¨āĻ¸āĻ¨ā§āĻ° āĻŽāĻ¨ā§āĻ¤āĻŦā§āĻ¯ āĻŦāĻž āĻĒāĻ°ā§āĻ¯āĻŦā§āĻā§āĻˇāĻŖāĻāĻŋ āĻš’āĻ˛:
“āĻŽā§āĻāĻžāĻĢāĻŋāĻāĻŋāĻā§āĻ¸ āĻāĻ° āĻĒā§āĻ°āĻ¤āĻžāĻ°āĻ āĻšāĻŋāĻ¸āĻžāĻŦā§ Donne āĻ¤āĻžāĻ° āĻŦā§āĻĻā§āĻ§āĻŋ āĻŦāĻž āĻĒā§āĻ°āĻā§āĻāĻž āĻ¨āĻŋāĻ¯āĻŧā§ āĻ āĻšāĻāĻāĻžāĻ° āĻāĻ°ā§āĻāĻŋāĻ˛ā§āĻ¨āĨ¤ āĻāĻŽāĻ¨āĻāĻŋ āĻ¸āĻŋāĻ˛ā§āĻŦāĻ˛ āĻāĻŦāĻ āĻ°āĻžāĻāĻŽ āĻĻāĻŋāĻ¯āĻŧā§ āĻāĻŦāĻŋ āĻ¨āĻ¯āĻŧ āĻŦāĻ°āĻ āĻ¨āĻŋāĻāĻ āĻĒā§āĻ°āĻ¯ā§āĻā§āĻ¤āĻŋāĻŦāĻŋāĻĻāĨ¤”
āĻāĻ§ā§āĻ¨āĻŋāĻ āĻ¯ā§āĻā§, āĻ āĻ§ā§āĻ¯āĻžāĻĒāĻ āĻāĻŋāĻ¯āĻŧāĻžāĻ°āĻ¸āĻ¨ā§āĻ° āĻŦāĻ âMetaphysical Lyrics and Poems of the Seventeenth Century: Donne to Butler” (ā§§ā§¯ā§¨ā§§) āĻŽā§āĻāĻžāĻĢāĻŋāĻāĻŋāĻā§āĻ¯āĻžāĻ˛ āĻāĻŦāĻŋāĻĻā§āĻ° āĻāĻ¨ā§āĻ¯ āĻ¸āĻŽāĻžāĻ˛ā§āĻāĻ¨āĻž āĻ āĻāĻ¸ā§āĻāĻžāĻ¨āĻŋ āĻĻā§āĻāĻ¯āĻŧāĻžāĻ° āĻāĻāĻāĻŋ āĻ¸āĻŽāĻžāĻ˛ā§āĻāĻ¨āĻžāĻ° āĻ āĻāĻļāĨ¤ āĻāĻŋāĻ¨ā§āĻ¤ā§ āĻĒā§āĻ°āĻĨāĻŽāĻŦāĻžāĻ°ā§āĻ° āĻŽāĻ¤ā§ āĻāĻŋ āĻāĻ¸ āĻāĻ˛āĻŋāĻ¯āĻŧāĻ āĻŽā§āĻāĻžāĻĢāĻŋāĻāĻŋāĻā§āĻ¯āĻžāĻ˛ āĻāĻŦāĻŋāĻĻā§āĻ° āĻ°āĻā§āĻˇāĻž āĻāĻ°āĻžāĻ° āĻāĻ¨ā§āĻ¯ āĻāĻāĻŋāĻ¯āĻŧā§ āĻāĻ¸ā§āĻāĻŋāĻ˛ā§āĻ¨ āĻāĻŦāĻ āĻ¤āĻĨāĻžāĻāĻĨāĻŋāĻ¤ āĻŽā§āĻāĻžāĻĢāĻŋāĻāĻŋāĻā§āĻ¯āĻžāĻ˛ āĻāĻŦāĻŋāĻĻā§āĻ° āĻ¸ā§āĻŦā§āĻā§āĻ¤āĻŋ āĻĻāĻžāĻ¨ āĻāĻ°ā§āĻāĻŋāĻ˛ā§āĻ¨āĨ¤
Objections of Samuel Johnson (1709-1784)
Before going to present Eliotâs defending arguments, the objections of Johnson against metaphysical poets should be learned. The objections are:
- Metaphysical poetry has long done duty as a term of abuse, or as the label of quaint and pleasant taste.
- The most heterogeneous ideas are yoked by violence together, or divers in character or content.
- Inventive use of conceit.
- Loose structure of poetry.
āĻ¸ā§āĻ¯āĻžāĻŽā§āĻ¯āĻŧā§āĻ˛ āĻāĻ¨āĻ¸āĻ¨ā§āĻ° āĻāĻĒāĻ¤ā§āĻ¤āĻŋ
āĻāĻ˛āĻŋāĻ¯āĻŧāĻā§āĻ° āĻĒā§āĻ°āĻ¤āĻŋāĻ°āĻā§āĻˇāĻž āĻ¯ā§āĻā§āĻ¤āĻŋ āĻāĻĒāĻ¸ā§āĻĨāĻžāĻĒāĻ¨ āĻāĻ°āĻžāĻ° āĻāĻā§ āĻŽā§āĻāĻžāĻĢāĻŋāĻāĻŋāĻā§āĻ¯āĻžāĻ˛ āĻāĻŦāĻŋāĻĻā§āĻ° āĻŦāĻŋāĻ°ā§āĻĻā§āĻ§ā§ āĻāĻ¨āĻ¸āĻ¨ā§āĻ° āĻāĻĒāĻ¤ā§āĻ¤āĻŋāĻā§āĻ˛āĻŋ āĻāĻžāĻ¨āĻ¤ā§ āĻšāĻŦā§āĨ¤ āĻāĻĒāĻ¤ā§āĻ¤āĻŋāĻā§āĻ˛āĻŋ āĻš‘āĻ˛:
- āĻ°ā§āĻĒāĻ āĻāĻŦāĻŋāĻ¤āĻž āĻĻā§āĻ°ā§āĻāĻāĻžāĻ˛ āĻ§āĻ°ā§ āĻ āĻĒāĻŦā§āĻ¯āĻŦāĻšāĻžāĻ°ā§āĻ° āĻļāĻŦā§āĻĻ āĻšāĻŋāĻ¸āĻžāĻŦā§ āĻĻāĻžāĻ¯āĻŧāĻŋāĻ¤ā§āĻŦ āĻĒāĻžāĻ˛āĻ¨ āĻāĻ°ā§āĻā§, āĻŦāĻž āĻāĻĻāĻžāĻ¸ā§āĻ¨ āĻāĻŦāĻ āĻŽāĻ¨ā§āĻ°āĻŽ āĻ¸ā§āĻŦāĻžāĻĻ āĻ˛ā§āĻŦā§āĻ˛ āĻšāĻŋāĻ¸āĻžāĻŦā§āĨ¤
- āĻŦāĻŋāĻāĻŋāĻ¨ā§āĻ¨ āĻ§āĻžāĻ°āĻŖāĻžāĻā§āĻ˛āĻŋāĻā§ āĻā§āĻ° āĻāĻ°ā§ āĻāĻāĻ¸āĻžāĻĨā§ āĻā§āĻĄāĻŧā§ āĻĻā§āĻ¯āĻŧāĻž āĻšāĻ¯āĻŧā§āĻā§ āĻ¯āĻž āĻāĻ°āĻŋāĻ¤ā§āĻ° āĻŦāĻž āĻŦāĻŋāĻˇāĻ¯āĻŧāĻŦāĻ¸ā§āĻ¤ā§āĻ¤ā§ āĻāĻ˛āĻžāĻĻāĻžāĨ¤
- āĻāĻ¨ā§āĻ¸āĻŋāĻ¤ āĻāĻ° āĻŦā§āĻ¯āĻŦāĻšāĻžāĻ° āĻāĻ°ā§āĻā§āĨ¤
- āĻāĻŦāĻŋāĻ¤āĻžāĻ¤ā§ āĻ˛ā§āĻ¸ āĻ¸ā§āĻā§āĻ°āĻžāĻāĻāĻžāĻ° āĻŦā§āĻ¯āĻŦāĻšāĻžāĻ° āĻāĻ°ā§āĻā§āĨ¤
Protecting logics of T.S. Eliot
It is true that Eliot has pointed out some arguments against Johnson and also refuted him not to censure but only to defend metaphysical poets or nothing else. Eliotâs logics are here.
āĻāĻŋ āĻāĻ¸ āĻāĻ˛āĻŋāĻ¯āĻŧāĻ āĻāĻ° āĻ°āĻā§āĻˇāĻŖā§āĻ¯āĻŧ āĻ¯ā§āĻā§āĻ¤āĻŋāĻā§āĻ˛ā§
āĻāĻāĻž āĻ¸āĻ¤ā§āĻ¯ āĻ¯ā§ āĻāĻ˛āĻŋāĻ¯āĻŧāĻ āĻāĻ¨āĻ¸āĻ¨ā§āĻ° āĻŦāĻŋāĻ°ā§āĻĻā§āĻ§ā§ āĻāĻŋāĻā§ āĻ¯ā§āĻā§āĻ¤āĻŋ āĻĻā§āĻāĻŋāĻ¯āĻŧā§āĻā§āĻ¨ āĻāĻŦāĻ āĻ¤āĻžāĻā§ āĻ¤āĻŋāĻ°āĻ¸ā§āĻāĻžāĻ° āĻāĻ°āĻžāĻ° āĻāĻ¨ā§āĻ¯ āĻāĻ āĻŦā§āĻ¯āĻžāĻā§āĻ¯āĻž āĻāĻ°ā§āĻ¨ āĻ¨āĻŋ, āĻā§āĻŦāĻ˛āĻŽāĻžāĻ¤ā§āĻ° āĻŽā§āĻāĻžāĻĢāĻŋāĻāĻŋāĻā§āĻ¯āĻžāĻ˛ āĻāĻŦāĻŋāĻĻā§āĻ° āĻ°āĻā§āĻˇāĻž āĻāĻ°āĻžāĻ° āĻāĻ¨ā§āĻ¯āĻāĨ¤ āĻāĻāĻžāĻ¨ā§, āĻāĻ˛āĻŋāĻ¯āĻŧāĻā§āĻ° āĻ¯ā§āĻā§āĻ¤āĻŋāĻā§āĻ˛ā§ āĻ¤ā§āĻ˛ā§ āĻ§āĻ°āĻž āĻšāĻ˛ā§:
Extremely difficult to define metaphysical poetry
Eliotâs first and foremost defending argument is that it is extremely crux to define metaphysical poetry and decide what poets practice it. The poetry of Donne and Marvell is very close to late Elizabethan poet and translator Chapman in respect of feeling. Romantic and devotional verses of Cristiana Rossetti and mystic verses Francis Thompson, both belonged to the Victorian period, are really similar to the devotional verse of Vaughan, Herbert, and Crashaw. Thus, Eliot opines that metaphysical concept in writing poetry is the fundamental.
āĻŽā§āĻāĻžāĻĢāĻŋāĻāĻŋāĻā§āĻ¯āĻžāĻ˛ āĻāĻŦāĻŋāĻ¤āĻž āĻ¸āĻāĻā§āĻāĻžāĻ¯āĻŧāĻŋāĻ¤ āĻāĻ°āĻž āĻ āĻ¤ā§āĻ¯āĻ¨ā§āĻ¤ āĻāĻ āĻŋāĻ¨
āĻāĻ˛āĻŋāĻ¯āĻŧāĻā§āĻ° āĻĒā§āĻ°āĻĨāĻŽ āĻāĻŦāĻ āĻ¸āĻ°ā§āĻŦāĻžāĻ§āĻŋāĻ āĻ¸ā§āĻ°āĻā§āĻˇāĻŋāĻ¤ āĻ¯ā§āĻā§āĻ¤āĻŋ āĻš’āĻ˛ āĻŽā§āĻāĻžāĻĢāĻŋāĻāĻŋāĻā§āĻ¯āĻžāĻ˛ āĻāĻŦāĻŋāĻ¤āĻž āĻ¸āĻāĻā§āĻāĻžāĻ¯āĻŧāĻŋāĻ¤ āĻāĻ°āĻž āĻāĻŦāĻ āĻāĻŦāĻŋāĻ°āĻž āĻā§ āĻ āĻ¨ā§āĻļā§āĻ˛āĻ¨ āĻāĻ°ā§ āĻ¤āĻž āĻ¸ā§āĻĨāĻŋāĻ° āĻāĻ°ā§ āĻ¨ā§āĻāĻ¯āĻŧāĻž āĻ āĻ¤ā§āĻ¯āĻ¨ā§āĻ¤ āĻāĻ āĻŋāĻ¨āĨ¤ āĻĄāĻžāĻ¨ āĻāĻŦāĻ āĻŽāĻžāĻ°āĻā§āĻ˛ā§āĻ° āĻāĻŦāĻŋāĻ¤āĻžāĻ° āĻ āĻ¨ā§āĻā§āĻ¤āĻŋāĻ° āĻā§āĻˇā§āĻ¤ā§āĻ°ā§ āĻĒā§āĻ°āĻžāĻ¯āĻŧ āĻāĻ˛āĻŋāĻāĻžāĻŦā§āĻĻāĻžāĻ¨ āĻāĻŦāĻŋ āĻ āĻ āĻ¨ā§āĻŦāĻžāĻĻāĻ āĻā§āĻ¯āĻžāĻĒāĻŽā§āĻ¯āĻžāĻ¨ā§āĻ° āĻ¸āĻžāĻĨā§ āĻŽāĻŋāĻ˛ā§ āĻ¯āĻžāĻ¯āĻŧāĨ¤ āĻā§āĻ°āĻŋāĻļā§āĻāĻŋāĻ¯āĻŧāĻžāĻ¨āĻž āĻ°ā§āĻ¸ā§āĻā§āĻ¤āĻŋāĻ° āĻ°ā§āĻŽāĻžāĻ¨ā§āĻāĻŋāĻ āĻāĻŦāĻ āĻāĻā§āĻ¤āĻŋāĻŽā§āĻ˛āĻ āĻļā§āĻ˛ā§āĻ āĻāĻŦāĻ āĻŽāĻ°āĻŽā§ āĻļā§āĻ˛ā§āĻ āĻĢā§āĻ°āĻžāĻ¨ā§āĻ¸āĻŋāĻ¸ āĻĨāĻŽā§āĻĒāĻ¸āĻ¨, āĻāĻāĻ¯āĻŧāĻ āĻāĻŋāĻā§āĻā§āĻ°āĻŋāĻ¯āĻŧ āĻ¯ā§āĻā§āĻ° āĻ āĻ¨ā§āĻ¤āĻ°ā§āĻā§āĻā§āĻ¤, āĻāĻžāĻ¨, āĻšāĻžāĻ°āĻŦāĻžāĻ°ā§āĻ āĻāĻŦāĻ āĻā§āĻ°ā§āĻ¯āĻžāĻļ-āĻāĻ° āĻāĻā§āĻ¤āĻŋāĻŽā§āĻ˛āĻ āĻļā§āĻ˛ā§āĻā§āĻ° āĻ¸āĻžāĻĨā§ āĻ¸āĻ¤ā§āĻ¯āĻ āĻŽāĻŋāĻ˛ā§ āĻ¯āĻžāĻ¯āĻŧāĨ¤ āĻ¸ā§āĻ¤āĻ°āĻžāĻ, āĻāĻ˛āĻŋāĻ¯āĻŧāĻ āĻŽāĻ¨ā§āĻ¤āĻŦā§āĻ¯ āĻāĻ°ā§āĻā§āĻ¨ āĻ¯ā§, āĻāĻŦāĻŋāĻ¤āĻž āĻ˛ā§āĻāĻžāĻ° āĻā§āĻˇā§āĻ¤ā§āĻ°ā§ āĻŽā§āĻāĻžāĻĢāĻŋāĻāĻŋāĻā§āĻ¯āĻžāĻ˛ āĻ§āĻžāĻ°āĻŖāĻžāĻāĻŋ āĻāĻāĻāĻŋ āĻŽā§āĻ˛āĻŋāĻ āĻ§āĻžāĻ°āĻŖāĻžāĨ¤
Use of figure of speech
Johnson criticizes metaphysical poets for their use of so-called inventive conceit. Eliot opines that it is difficult to find any precise or particular use of simile, metaphor, or other conceit because the use of the figure of speech is common to all poets and at the same time important enough as an element of style. Therefore, it is exactly futile to isolate metaphysical poets as a loose group based on only the use of conceit.
āĻĢāĻŋāĻāĻžāĻ° āĻ āĻĢ āĻ¸ā§āĻĒā§āĻ āĻāĻ° āĻŦāĻžāĻŦāĻšāĻžāĻ°
āĻāĻ¨āĻ¸āĻ¨ āĻ¤āĻĨāĻžāĻāĻĨāĻŋāĻ¤ āĻāĻĻā§āĻāĻžāĻŦāĻ¨ā§ āĻāĻ¨ā§āĻ¸āĻŋāĻ¤ āĻŦā§āĻ¯āĻŦāĻšāĻžāĻ°ā§āĻ° āĻāĻ¨ā§āĻ¯ āĻŽā§āĻāĻžāĻĢāĻŋāĻāĻŋāĻā§āĻ¯āĻžāĻ˛ āĻāĻŦāĻŋāĻĻā§āĻ° āĻ¸āĻŽāĻžāĻ˛ā§āĻāĻ¨āĻž āĻāĻ°ā§āĻā§āĻ¨āĨ¤ āĻāĻ˛āĻŋāĻ¯āĻŧāĻ āĻŦā§āĻ¯āĻžāĻā§āĻ¯āĻž āĻāĻ°ā§āĻā§āĻ¨ āĻ¯ā§ āĻāĻĒāĻŽāĻž, āĻ°ā§āĻĒāĻ āĻŦāĻž āĻ āĻ¨ā§āĻ¯āĻžāĻ¨ā§āĻ¯ āĻ āĻ¨ā§āĻŽāĻžāĻ¨ā§āĻ° āĻ¨āĻŋāĻ°ā§āĻĻāĻŋāĻˇā§āĻ āĻŦāĻž āĻ¨āĻŋāĻ°ā§āĻĻāĻŋāĻˇā§āĻ āĻŦā§āĻ¯āĻŦāĻšāĻžāĻ° āĻ¸āĻ¨ā§āĻ§āĻžāĻ¨ āĻāĻ°āĻž āĻāĻ āĻŋāĻ¨ āĻāĻžāĻ°āĻŖ āĻŦāĻā§āĻ¤ā§āĻ¤āĻžāĻ° āĻāĻŋāĻ¤ā§āĻ°ā§āĻ° āĻŦā§āĻ¯āĻŦāĻšāĻžāĻ° āĻ¸āĻŽāĻ¸ā§āĻ¤ āĻāĻŦāĻŋāĻĻā§āĻ° āĻāĻžāĻā§ āĻ¸āĻžāĻ§āĻžāĻ°āĻŖ āĻāĻŦāĻ āĻāĻāĻ āĻ¸āĻžāĻĨā§ āĻ¯āĻĨā§āĻˇā§āĻ āĻā§āĻ°ā§āĻ¤ā§āĻŦāĻĒā§āĻ°ā§āĻŖ āĻāĻĒāĻžāĻĻāĻžāĻ¨ā§āĻ° āĻ§āĻ°āĻŖ āĻšāĻŋāĻ¸āĻžāĻŦā§āĨ¤ āĻ¸ā§āĻ¤āĻ°āĻžāĻ, āĻā§āĻŦāĻ˛ āĻļā§āĻ§ā§āĻŽāĻžāĻ¤ā§āĻ° āĻāĻ¨ā§āĻ¸āĻŋāĻ¤ āĻŦā§āĻ¯āĻŦāĻšāĻžāĻ°ā§āĻ° āĻāĻŋāĻ¤ā§āĻ¤āĻŋāĻ¤ā§ āĻŽā§āĻāĻžāĻĢāĻŋāĻāĻŋāĻā§āĻ¯āĻžāĻ˛ āĻāĻŦāĻŋāĻĻā§āĻ° āĻāĻāĻāĻŋ āĻāĻ˛āĻāĻž āĻĻāĻ˛ āĻšāĻŋāĻ¸āĻžāĻŦā§ āĻŦāĻŋāĻā§āĻāĻŋāĻ¨ā§āĻ¨ āĻāĻ°āĻž āĻāĻā§āĻŦāĻžāĻ°ā§ āĻ¨āĻŋāĻ°āĻ°ā§āĻĨāĻāĨ¤
The most heterogeneous ideas yoked by violence together
Eliot confesses that it is a fact that often the ideas are yoked and not united in metaphysical poetry. But he asserts that it is a matter of omnipresence in poetry. He cites the example of a French poet to justify this and also relates that Johnson himself is not free from this fault. âThe Vanity of Human Wishesâ is a poem by Johnson is the best example of heterogeneous ideas yoked violently together. Eliot presents four lines of the poem of Johnson as evidence:
âHis fate was destined to barren strand,
A petty fortress, and dubious hand;
He left a name at which the world grew pale,
To point a moral, or adorn a tale,â
āĻŦāĻŋāĻāĻŋāĻ¨ā§āĻ¨ āĻ§āĻžāĻ°āĻŖāĻžāĻā§āĻ˛āĻŋāĻā§ āĻā§āĻ° āĻāĻ°ā§ āĻāĻāĻ¸āĻžāĻĨā§ āĻā§āĻĄāĻŧā§ āĻĻā§āĻ¯āĻŧāĻž
āĻāĻ˛āĻŋāĻ¯āĻŧāĻ āĻ¸ā§āĻŦā§āĻāĻžāĻ° āĻāĻ°ā§āĻā§āĻ¨ āĻ¯ā§ āĻāĻāĻŋ āĻāĻŽāĻ¨ āĻāĻāĻāĻŋ āĻ¸āĻ¤ā§āĻ¯ āĻ¯ā§ āĻĒā§āĻ°āĻžāĻ¯āĻŧ āĻ§āĻžāĻ°āĻŖāĻžāĻā§āĻ˛āĻŋ āĻāĻāĻ¤ā§āĻ° āĻāĻ°āĻž āĻšāĻ¯āĻŧ āĻļā§āĻ§ā§āĻŽāĻžāĻ¤ā§āĻ° āĻŽā§āĻāĻžāĻĢāĻŋāĻāĻŋāĻā§āĻ¯āĻžāĻ˛ āĻāĻŦāĻŋāĻ¤āĻžāĻ¤ā§āĻ āĻāĻāĻ¤ā§āĻ°āĻŋāĻ¤ āĻšāĻ¯āĻŧ āĻ¨āĻžāĨ¤ āĻ¤āĻŦā§ āĻ¤āĻŋāĻ¨āĻŋ āĻĻā§āĻš āĻāĻžāĻŦā§ āĻŦāĻ˛ā§āĻā§āĻ¨ āĻ¯ā§ āĻāĻāĻŋ āĻāĻŦāĻŋāĻ¤āĻžāĻ¯āĻŧ āĻ¸āĻ°ā§āĻŦāĻŦā§āĻ¯āĻžāĻĒā§ āĻāĻāĻāĻŋ āĻŦāĻŋāĻˇāĻ¯āĻŧāĨ¤ āĻ¤āĻŋāĻ¨āĻŋ āĻāĻāĻŋāĻā§ āĻ¨ā§āĻ¯āĻžāĻ¯āĻŧāĻ¸āĻā§āĻāĻ¤ āĻāĻ°āĻžāĻ° āĻāĻ¨ā§āĻ¯ āĻĢāĻ°āĻžāĻ¸āĻŋ āĻāĻŦāĻŋāĻ° āĻāĻĻāĻžāĻšāĻ°āĻŖ āĻāĻ˛ā§āĻ˛ā§āĻ āĻāĻ°ā§āĻā§āĻ¨ āĻāĻŦāĻ āĻāĻ¨āĻ¸āĻ¨ āĻ¨āĻŋāĻā§āĻ āĻāĻ āĻĻā§āĻˇ āĻĨā§āĻā§ āĻŽā§āĻā§āĻ¤ āĻ¨āĻ¯āĻŧ āĻŦāĻ˛ā§ āĻāĻ˛ā§āĻ˛ā§āĻ āĻāĻ°ā§āĻā§āĻ¨āĨ¤ āĻāĻ¨āĻ¸āĻ¨ā§āĻ° āĻāĻāĻāĻŋ āĻāĻŦāĻŋāĻ¤āĻž “āĻšāĻŋāĻāĻŽā§āĻ¯āĻžāĻ¨ āĻāĻā§āĻāĻžāĻ° āĻā§āĻ¯āĻžāĻ¨āĻŋāĻāĻŋ” āĻš‘āĻ˛ āĻāĻāĻ¸āĻžāĻĨā§ āĻšāĻŋāĻāĻ¸āĻžāĻ¤ā§āĻŽāĻāĻāĻžāĻŦā§ āĻā§āĻĄāĻŧāĻžāĻ˛ā§ āĻāĻŋāĻ¨ā§āĻ¨ āĻāĻŋāĻ¨ā§āĻ¨ āĻ§āĻžāĻ°āĻŖāĻžāĻ° āĻ¸āĻ°ā§āĻŦā§āĻ¤ā§āĻ¤āĻŽ āĻāĻĻāĻžāĻšāĻ°āĻŖāĨ¤ āĻāĻ˛āĻŋāĻ¯āĻŧāĻ āĻĒā§āĻ°āĻŽāĻžāĻŖ āĻšāĻŋāĻ¸āĻžāĻŦā§ āĻāĻ¨āĻ¸āĻ¨ā§āĻ° āĻāĻŦāĻŋāĻ¤āĻžāĻ° āĻāĻžāĻ°āĻāĻŋ āĻ˛āĻžāĻāĻ¨ āĻāĻĒāĻ¸ā§āĻĨāĻžāĻĒāĻ¨ āĻāĻ°ā§āĻā§āĻ¨:
âāĻ¤āĻžāĻāĻ° āĻāĻžāĻā§āĻ¯ āĻ¨āĻŋāĻ°ā§āĻ§āĻžāĻ°āĻŋāĻ¤ āĻāĻŋāĻ˛ āĻŦāĻ¨ā§āĻ§ā§āĻ¯āĻž āĻāĻžāĻ¨ā§āĻĄā§āĻ°,
āĻāĻāĻāĻŋ āĻā§āĻˇā§āĻĻā§āĻ° āĻĻā§āĻ°ā§āĻ, āĻāĻŦāĻ āĻ¸āĻ¨ā§āĻĻā§āĻšāĻāĻ¨āĻ āĻšāĻžāĻ¤;
āĻ¤āĻŋāĻ¨āĻŋ āĻāĻāĻāĻŋ āĻ¨āĻžāĻŽ āĻ°ā§āĻā§āĻāĻŋāĻ˛ā§āĻ¨ āĻ¯ā§āĻāĻžāĻ¨ā§ āĻŦāĻŋāĻļā§āĻŦ āĻŽā§āĻ˛āĻžāĻ¨ āĻšāĻ¯āĻŧā§ āĻā§āĻā§,
āĻāĻāĻāĻŋ āĻ¨ā§āĻ¤āĻŋāĻ āĻ¨āĻŋāĻ°ā§āĻĻā§āĻļ, āĻŦāĻž āĻāĻāĻāĻŋ āĻāĻ˛ā§āĻĒ āĻļā§āĻāĻžāĻāĻ°, “
Defense of miscellaneous objections
Beside these objections, Eliot has refuted other objections of Johnson as to metaphysical poets. He strongly says that Johnsonâs general observation on the metaphysical poets in his essay âThe Life of Cowleyâ is often fit but the language of the prescribed poets is simple, clear and elegant and their thought and feeling are unified very close to the modern poets.
Johnson objects that metaphysical poetsâ attempts were always analytic but Eliot would not agree with Johnson because the dramatist of late Elizabethan period was extremely analytical. Here Eliot especially mentions Cristopher Marlowe who was man of superb erudition like metaphysical poets from analytic perspective. Thus, Eliot shows that metaphysical poets were the successor of Elizabethan dramatists.
āĻŦāĻŋāĻŦāĻŋāĻ§ āĻāĻĒāĻ¤ā§āĻ¤āĻŋ āĻĒā§āĻ°āĻ¤āĻŋāĻ°āĻā§āĻˇāĻž
āĻāĻ āĻāĻĒāĻ¤ā§āĻ¤āĻŋāĻā§āĻ˛āĻŋāĻ° āĻĒāĻžāĻļāĻžāĻĒāĻžāĻļāĻŋ, āĻāĻ˛āĻŋāĻ¯āĻŧāĻ āĻāĻ¨āĻ¸āĻ¨ā§āĻ° āĻ āĻ¨ā§āĻ¯āĻžāĻ¨ā§āĻ¯ āĻāĻĒāĻ¤ā§āĻ¤āĻŋāĻā§āĻ˛āĻŋāĻā§ āĻŽā§āĻāĻžāĻĢāĻŋāĻāĻŋāĻā§āĻ¯āĻžāĻ˛ āĻāĻŦāĻŋ āĻšāĻŋāĻ¸āĻžāĻŦā§ āĻ āĻ¸ā§āĻŦā§āĻāĻžāĻ° āĻāĻ°ā§āĻā§āĻ¨āĨ¤ āĻ¤āĻŋāĻ¨āĻŋ āĻĻā§āĻšāĻ¤āĻžāĻ° āĻ¸āĻžāĻĨā§ āĻŦāĻ˛ā§āĻā§āĻ¨ āĻ¯ā§ āĻāĻ¨āĻ¸āĻ¨ā§āĻ° āĻ¤āĻžāĻāĻ° āĻ°āĻāĻ¨āĻž âThe Life of Cowleyâ āĻŽā§āĻāĻžāĻĢāĻŋāĻāĻŋāĻā§āĻ¯āĻžāĻ˛ āĻāĻŦāĻŋāĻĻā§āĻ° āĻ¸āĻŽā§āĻĒāĻ°ā§āĻā§ āĻ¸āĻžāĻ§āĻžāĻ°āĻŖ āĻĒāĻ°ā§āĻ¯āĻŦā§āĻā§āĻˇāĻŖ āĻĒā§āĻ°āĻžāĻ¯āĻŧ āĻŽāĻŋāĻ˛ā§ āĻ¯āĻžāĻ¯āĻŧ āĻ¤āĻŦā§ āĻ¨āĻŋāĻ°ā§āĻ§āĻžāĻ°āĻŋāĻ¤ āĻāĻŦāĻŋāĻĻā§āĻ° āĻāĻžāĻˇāĻž āĻ¸āĻšāĻ, āĻ¸ā§āĻĒāĻˇā§āĻ āĻāĻŦāĻ āĻŽāĻžāĻ°ā§āĻāĻŋāĻ¤ āĻāĻŦāĻ āĻ¤āĻžāĻĻā§āĻ° āĻāĻŋāĻ¨ā§āĻ¤āĻžāĻāĻžāĻŦāĻ¨āĻž āĻāĻŦāĻ āĻ āĻ¨ā§āĻā§āĻ¤āĻŋ āĻāĻ§ā§āĻ¨āĻŋāĻ āĻāĻŦāĻŋāĻĻā§āĻ° āĻ¸āĻžāĻĨā§ āĻāĻāĻ¤ā§āĻ°āĻŋāĻ¤ āĻšāĻ¯āĻŧā§āĻā§āĨ¤
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Conclusion: Now, it may be said that Johnson failed to define metaphysical poetry by its faults but Eliot also asserts that we must not reject the criticism of Johnson who is a dangerous person to disagree with.
6. Discuss the role of the English novels in perpetuating imperial rule.
Introduction: The English novels which have been scrutinized by Edward Wadie Said (1935-2003) for the first time in the history of English literature have duality. He blazons that the primary purpose of novels is to learn the cultural forms pleasurably and lucratively. Second, they have played a gigantic role in the formation of sustainable imperial attitudes, references, and experiences.
āĻā§āĻŽāĻŋāĻāĻž: āĻāĻāĻ°ā§āĻāĻŋ āĻ¸āĻžāĻšāĻŋāĻ¤ā§āĻ¯ā§āĻ° āĻāĻ¤āĻŋāĻšāĻžāĻ¸ā§ āĻĒā§āĻ°āĻĨāĻŽāĻŦāĻžāĻ°ā§āĻ° āĻŽāĻ¤ā§ āĻāĻĄāĻāĻ¯āĻŧāĻžāĻ°ā§āĻĄ āĻāĻ¯āĻŧā§āĻĄāĻŋ āĻ¸āĻžāĻāĻĻ (ā§§ā§¯ā§Šā§Ģ-ā§¨ā§Ļā§Ļā§Š) āĻ¯ā§ āĻāĻāĻ°ā§āĻāĻŋ āĻāĻĒāĻ¨ā§āĻ¯āĻžāĻ¸āĻā§āĻ˛āĻŋ āĻ¯āĻžāĻāĻžāĻ-āĻŦāĻžāĻāĻžāĻ āĻāĻ°ā§āĻā§ āĻ¤āĻžāĻĻā§āĻ° āĻĻā§āĻŦā§āĻ¤āĻ¤āĻž āĻ°āĻ¯āĻŧā§āĻā§āĨ¤ āĻ¤āĻŋāĻ¨āĻŋ āĻā§āĻˇāĻŖāĻž āĻāĻ°ā§āĻ¨ āĻ¯ā§ āĻāĻĒāĻ¨ā§āĻ¯āĻžāĻ¸ā§āĻ° āĻĒā§āĻ°āĻžāĻĨāĻŽāĻŋāĻ āĻāĻĻā§āĻĻā§āĻļā§āĻ¯ āĻš’āĻ˛ āĻ¸āĻžāĻāĻ¸ā§āĻā§āĻ¤āĻŋāĻ āĻ°ā§āĻĒāĻā§āĻ˛āĻŋ āĻāĻ¨āĻ¨ā§āĻĻāĻĻāĻžāĻ¯āĻŧāĻ āĻāĻŦāĻ āĻ˛āĻžāĻāĻāĻ¨āĻāĻāĻžāĻŦā§ āĻļā§āĻāĻžāĨ¤ āĻĻā§āĻŦāĻŋāĻ¤ā§āĻ¯āĻŧāĻ¤, āĻāĻā§āĻ˛ā§ āĻ¸ā§āĻĨāĻžāĻ¯āĻŧā§āĻāĻžāĻŦā§ āĻ¸āĻžāĻŽā§āĻ°āĻžāĻā§āĻ¯āĻŦāĻžāĻĻā§ āĻŽāĻ¨ā§āĻāĻžāĻŦ, āĻĒā§āĻ°āĻ¸āĻā§āĻ āĻāĻŦāĻ āĻ āĻāĻŋāĻā§āĻāĻ¤āĻž āĻāĻ āĻ¨ā§ āĻŦāĻŋāĻļāĻžāĻ˛ āĻā§āĻŽāĻŋāĻāĻž āĻĒāĻžāĻ˛āĻ¨ āĻāĻ°ā§āĨ¤
Divers role of English novels:
Mr. Said alludes sundry role of English novels in his international essay âIntroduction to Culture and Imperialismâ, 1993, which is illustrated here by pointing out with sufficient references from the essay.
āĻāĻāĻ°ā§āĻāĻŋ āĻāĻĒāĻ¨ā§āĻ¯āĻžāĻ¸āĻā§āĻ˛āĻŋāĻ° āĻāĻāĻžāĻ§āĻŋāĻ āĻā§āĻŽāĻŋāĻāĻž:
āĻŽāĻŋāĻ āĻ¸āĻžāĻāĻĻ āĻ¤āĻžāĻāĻ° āĻāĻ¨ā§āĻ¤āĻ°ā§āĻāĻžāĻ¤āĻŋāĻ āĻĒā§āĻ°āĻŦāĻ¨ā§āĻ§ âIntroduction to Culture and Imperialismâ, āĻ āĻāĻāĻ°ā§āĻā§ āĻāĻĒāĻ¨ā§āĻ¯āĻžāĻ¸āĻā§āĻ˛āĻŋāĻ° āĻ¸ā§āĻŦāĻ¤āĻ¨ā§āĻ¤ā§āĻ° āĻā§āĻŽāĻŋāĻāĻžāĻ° āĻāĻā§āĻāĻŋāĻ¤ āĻĻāĻŋāĻ¯āĻŧā§āĻā§āĻ¨, āĻ¯āĻž āĻāĻāĻžāĻ¨ā§ āĻāĻ˛ā§āĻāĻ¨āĻž āĻāĻ°āĻž āĻšāĻ˛ā§ āĻāĻ āĻĒā§āĻ°āĻŦāĻ¨ā§āĻ§ āĻĨā§āĻā§ āĻĒāĻ°ā§āĻ¯āĻžāĻĒā§āĻ¤ āĻĻā§āĻˇā§āĻāĻžāĻ¨ā§āĻ¤ āĻ¸āĻšāĻāĻžāĻ°ā§āĨ¤
Exploration of strange regions:
As it is known that the main battle of imperialism is over land and overlapping the land. The English novelists, side by side explorers, say about strange regions of the world and also represent the cultural habit of people of that very land so that imperialism functions well after trespassing. For this, Said has referred to the prototypical modern novel âRobinson Crusoe.â Thus, English novels are inevitable for colonial expansion and perpetuation in accordance with Edward Said.
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āĻ¯ā§āĻŽāĻ¨āĻāĻŋ āĻāĻžāĻ¨āĻž āĻ¯āĻžāĻ¯āĻŧ āĻ¯ā§ āĻ¸āĻžāĻŽā§āĻ°āĻžāĻā§āĻ¯āĻŦāĻžāĻĻā§āĻ° āĻŽā§āĻ˛ āĻ¯ā§āĻĻā§āĻ§āĻāĻŋ āĻĻā§āĻļ āĻ¨āĻŋāĻ¯āĻŧā§ āĻāĻŦāĻ āĻĻā§āĻļāĻāĻŋāĻā§ āĻĻāĻāĻ˛ āĻāĻ°āĻžāĻ° āĻāĻ¨ā§āĻ¯āĨ¤ āĻ āĻ¨ā§āĻ¸āĻ¨ā§āĻ§āĻžāĻ¨ āĻāĻ° āĻĒāĻžāĻļāĻžāĻĒāĻžāĻļāĻŋ, āĻāĻāĻ°ā§āĻ āĻāĻĒāĻ¨ā§āĻ¯āĻžāĻ¸āĻŋāĻāĻ°āĻž āĻŦāĻŋāĻļā§āĻŦā§āĻ° āĻ āĻĻā§āĻā§āĻ¤ āĻĻā§āĻļāĻā§āĻ˛āĻŋ āĻ¸āĻŽā§āĻĒāĻ°ā§āĻā§ āĻŦāĻ˛ā§āĻā§āĻ¨ āĻāĻŦāĻ āĻ¸ā§āĻ āĻĻā§āĻļā§āĻ° āĻ˛ā§āĻāĻĻā§āĻ° āĻ¸āĻžāĻāĻ¸ā§āĻā§āĻ¤āĻŋāĻ āĻ āĻā§āĻ¯āĻžāĻ¸ā§āĻ°āĻ āĻĒā§āĻ°āĻ¤āĻŋāĻ¨āĻŋāĻ§āĻŋāĻ¤ā§āĻŦ āĻāĻ°ā§āĻā§āĻ¨ āĻ¯āĻžāĻ¤ā§ āĻ¸āĻžāĻŽā§āĻ°āĻžāĻā§āĻ¯āĻŦāĻžāĻĻ āĻĻā§āĻˇāĻžāĻ°ā§āĻĒ āĻāĻ°āĻžāĻ° āĻĒāĻ°ā§ āĻāĻžāĻ˛āĻāĻžāĻŦā§ āĻāĻžāĻ āĻāĻ°ā§āĨ¤ āĻāĻ° āĻāĻ¨ā§āĻ¯, āĻ¸āĻžāĻāĻĄ āĻĒā§āĻ°ā§āĻā§āĻāĻžāĻāĻĒāĻŋāĻāĻžāĻ˛ āĻāĻ§ā§āĻ¨āĻŋāĻ āĻāĻĒāĻ¨ā§āĻ¯āĻžāĻ¸ “āĻ°āĻŦāĻŋāĻ¨āĻ¸āĻ¨ āĻā§āĻ°ā§āĻ¸ā§” āĻāĻ˛ā§āĻ˛ā§āĻ āĻāĻ°ā§āĻā§āĻ¨āĨ¤āĻ¸ā§āĻ¤āĻ°āĻžāĻ, āĻāĻĄāĻāĻ¯āĻŧāĻžāĻ°ā§āĻĄ āĻ¸āĻžāĻāĻĻ āĻŽāĻ¤ā§, āĻ¸āĻžāĻŽā§āĻ°āĻžāĻā§āĻ¯āĻŦāĻžāĻĻ āĻŦāĻŋāĻ¸ā§āĻ¤āĻžāĻ° āĻāĻŦāĻ āĻ¸ā§āĻĨāĻžāĻ¯āĻŧā§āĻ¤ā§āĻŦā§āĻ° āĻāĻ¨ā§āĻ¯ āĻāĻāĻ°ā§āĻāĻŋ āĻāĻĒāĻ¨ā§āĻ¯āĻžāĻ¸āĻā§āĻ˛āĻŋ āĻ āĻ¨āĻŋāĻŦāĻžāĻ°ā§āĻ¯āĨ¤
Psychological study:
No other branches of knowledge do well as narrative fiction does in discovering xenophobia. The word xenophobia refers to dislike of foreigners or racial intolerance. By discussing this term, English novels inform imperialists to be conscious. Such discovery is helpful for the newly appointed inexperienced imperialists to understand natives amply. Such diversâ psychological studies are found in English novels that assist imperialism to hold down. In David Copperfield (1840s) by Charles Dickens (1812-1870), that it has been shown is quoted by Said in the following way:
âA sort of free system where the lobourers could do well
on their own if allowed to do so.â
āĻŽāĻ¨āĻ¸ā§āĻ¤āĻžāĻ¤ā§āĻ¤ā§āĻŦāĻŋāĻ āĻ āĻ§ā§āĻ¯āĻ¯āĻŧāĻ¨:
āĻā§āĻ¨ā§āĻĢā§āĻŦāĻŋāĻ¯āĻŧāĻž āĻāĻŦāĻŋāĻˇā§āĻāĻžāĻ° āĻāĻ°āĻ¤ā§ āĻāĻ§ā§āĻ¯āĻžāĻ¤ā§āĻŽāĻŋāĻ āĻāĻ˛ā§āĻĒāĻāĻžāĻšāĻŋāĻ¨ā§ āĻā§āĻāĻžāĻ¨ā§āĻ° āĻ āĻ¨ā§āĻ¯ āĻā§āĻ¨ āĻļāĻžāĻāĻžāĻ¯āĻŧ āĻ¤ā§āĻŽāĻ¨ āĻāĻžāĻ˛ā§ āĻāĻžāĻ āĻāĻ°ā§ āĻ¨āĻžāĨ¤ āĻā§āĻ¨ā§āĻĢā§āĻŦāĻŋāĻ¯āĻŧāĻž āĻļāĻŦā§āĻĻāĻāĻŋ āĻŦāĻŋāĻĻā§āĻļā§ āĻŦāĻž āĻāĻžāĻ¤āĻŋāĻāĻ¤ āĻ āĻ¸āĻšāĻŋāĻˇā§āĻŖā§āĻ¤āĻž āĻ āĻĒāĻāĻ¨ā§āĻĻāĻā§ āĻŦā§āĻāĻžāĻ¯āĻŧāĨ¤ āĻāĻ āĻĒāĻĻāĻāĻŋ āĻ¨āĻŋāĻ¯āĻŧā§ āĻāĻ˛ā§āĻāĻ¨āĻž āĻāĻ°ā§ āĻāĻāĻ°ā§āĻā§ āĻāĻĒāĻ¨ā§āĻ¯āĻžāĻ¸āĻā§āĻ˛āĻŋ āĻ¸āĻžāĻŽā§āĻ°āĻžāĻā§āĻ¯āĻŦāĻžāĻĻā§āĻĻā§āĻ° āĻ¸āĻā§āĻ¤āĻ¨ āĻšāĻ¤ā§ āĻ¨āĻŋāĻ°ā§āĻĻā§āĻļ āĻĻā§āĻ¯āĻŧāĨ¤ āĻ¸āĻĻā§āĻ¯ āĻ¨āĻŋāĻ¯āĻŧā§āĻāĻĒā§āĻ°āĻžāĻĒā§āĻ¤ āĻ āĻ¨āĻāĻŋāĻā§āĻ āĻ¸āĻžāĻŽā§āĻ°āĻžāĻā§āĻ¯āĻŦāĻžāĻĻā§āĻĻā§āĻ° āĻĒāĻā§āĻˇā§ āĻ¸ā§āĻĨāĻžāĻ¨ā§āĻ¯āĻŧāĻĻā§āĻ° āĻŦā§āĻāĻ¤ā§ āĻ āĻāĻžāĻ¤ā§āĻ¯āĻŧ āĻāĻŦāĻŋāĻˇā§āĻāĻžāĻ° āĻ¸āĻšāĻžāĻ¯āĻŧāĻāĨ¤ āĻāĻ āĻāĻžāĻ¤ā§āĻ¯āĻŧ āĻŦāĻŋāĻāĻŋāĻ¨ā§āĻ¨ āĻŽāĻ¨āĻ¸ā§āĻ¤āĻ¤ā§āĻ¤ā§āĻŦāĻŋāĻ āĻŦāĻŋāĻˇāĻ¯āĻŧāĻā§āĻ˛āĻŋ āĻāĻāĻ˛āĻŋāĻļ āĻāĻĒāĻ¨ā§āĻ¯āĻžāĻ¸āĻā§āĻ˛āĻŋāĻ¤ā§ āĻĒāĻžāĻāĻ¯āĻŧāĻž āĻ¯āĻžāĻ¯āĻŧ āĻ¯āĻž āĻ¸āĻžāĻŽā§āĻ°āĻžāĻā§āĻ¯āĻŦāĻžāĻĻāĻā§ āĻ§āĻ°ā§ āĻ°āĻžāĻāĻ¤ā§ āĻ¸āĻšāĻžāĻ¯āĻŧāĻ¤āĻž āĻāĻ°ā§āĨ¤ āĻāĻžāĻ°ā§āĻ˛āĻ¸ āĻĄāĻŋāĻā§āĻ¨ā§āĻ¸ (1812-1870) āĻāĻ° āĻĄā§āĻāĻŋāĻĄ āĻāĻĒāĻžāĻ°āĻĢāĻŋāĻ˛ā§āĻĄā§ (1840), āĻāĻāĻŋ āĻĻā§āĻāĻžāĻ¨ā§ āĻšāĻ¯āĻŧā§āĻā§ āĻ¯ā§ āĻ¨āĻŋāĻŽā§āĻ¨āĻ˛āĻŋāĻāĻŋāĻ¤āĻāĻžāĻŦā§ āĻ¸āĻžāĻāĻĄā§āĻ° āĻĻā§āĻŦāĻžāĻ°āĻž āĻāĻĻā§āĻ§ā§āĻ¤ āĻšāĻ¯āĻŧā§āĻā§:
âāĻāĻ āĻ§āĻ°āĻŖā§āĻ° āĻŽā§āĻā§āĻ¤ āĻŦā§āĻ¯āĻŦāĻ¸ā§āĻĨāĻž āĻ¯ā§āĻāĻžāĻ¨ā§ āĻļā§āĻ°āĻŽāĻŋāĻāĻ°āĻž āĻāĻžāĻ˛ āĻāĻ°āĻ¤ā§ āĻĒāĻžāĻ°āĻ¤
āĻ¤āĻžāĻĻā§āĻ° āĻ¨āĻŋāĻāĻ¸ā§āĻŦāĻāĻžāĻŦā§, āĻ¯āĻĻāĻŋ āĻāĻāĻŋ āĻāĻ°āĻžāĻ° āĻ āĻ¨ā§āĻŽāĻ¤āĻŋ āĻĻā§āĻāĻ¯āĻŧāĻž āĻšāĻ¤ā§āĨ¤ “
Britainâs imperial intercourse through trade and travel:
The British novelists are so cunning that by writing novels they prove that presently imperialism is free from criticism and will remain free from flaw and criticism because the purpose of imperialism was not to dominate but trade and travel. For short space of time, Said only examines two novels, âGreat Expectationsâ by Dickens and âNostromoâ by Joseph Conrad, which are the token of colonial purification and packed with the procedures of establishing penal colony in Australia and powerful and corrupted one in South American Republic. Hence English novels are the advocate for eternality of imperialism.
āĻŦāĻžāĻŖāĻŋāĻā§āĻ¯ āĻ āĻā§āĻ°āĻŽāĻŖā§āĻ° āĻŽāĻžāĻ§ā§āĻ¯āĻŽā§ āĻŦā§āĻ°āĻŋāĻā§āĻ¨ā§āĻ° āĻ¸āĻžāĻŽā§āĻ°āĻžāĻā§āĻ¯ āĻŦāĻŋāĻ¸ā§āĻ¤āĻžāĻ°:
āĻŦā§āĻ°āĻŋāĻāĻŋāĻļ āĻāĻĒāĻ¨ā§āĻ¯āĻžāĻ¸āĻŋāĻāĻ°āĻž āĻāĻ¤āĻāĻžāĻ āĻ§ā§āĻ°ā§āĻ¤ āĻ¯ā§ āĻāĻĒāĻ¨ā§āĻ¯āĻžāĻ¸ āĻ˛āĻŋāĻā§ āĻ¤āĻžāĻ°āĻž āĻĒā§āĻ°āĻŽāĻžāĻŖ āĻāĻ°ā§āĻā§āĻ¨ āĻ¯ā§ āĻŦāĻ°ā§āĻ¤āĻŽāĻžāĻ¨ā§ āĻ¸āĻžāĻŽā§āĻ°āĻžāĻā§āĻ¯āĻŦāĻžāĻĻ āĻ¸āĻŽāĻžāĻ˛ā§āĻāĻ¨āĻž āĻĨā§āĻā§ āĻŽā§āĻā§āĻ¤ āĻāĻŦāĻ āĻ¤ā§āĻ°ā§āĻāĻŋ-āĻŦāĻŋāĻā§āĻ¯ā§āĻ¤āĻŋ āĻĨā§āĻā§ āĻŽā§āĻā§āĻ¤ āĻĨāĻžāĻāĻŦā§ āĻāĻžāĻ°āĻŖ āĻ¸āĻžāĻŽā§āĻ°āĻžāĻā§āĻ¯āĻŦāĻžāĻĻā§āĻ° āĻāĻĻā§āĻĻā§āĻļā§āĻ¯ āĻĻāĻžāĻĒāĻ āĻ¨āĻ¯āĻŧ, āĻŦāĻžāĻŖāĻŋāĻā§āĻ¯ āĻ āĻā§āĻ°āĻŽāĻŖ āĻāĻŋāĻ˛āĨ¤ āĻ āĻ˛ā§āĻĒ āĻ¸āĻŽāĻ¯āĻŧā§āĻ° āĻāĻ¨ā§āĻ¯, āĻ¸āĻžāĻāĻĻ āĻā§āĻŦāĻ˛ āĻĻā§āĻāĻŋ āĻāĻĒāĻ¨ā§āĻ¯āĻžāĻ¸ āĻĒāĻ°ā§āĻā§āĻˇāĻž āĻāĻ°ā§āĻā§āĻ¨, āĻĄāĻŋāĻā§āĻ¨ā§āĻ¸ā§āĻ° âGreat Expectationsâ āĻāĻŦāĻ āĻā§āĻ¸ā§āĻĢ āĻāĻ¨āĻ°āĻžāĻĄā§āĻ° âNostromoâ, āĻ¯ā§āĻā§āĻ˛āĻŋ āĻāĻĒāĻ¨āĻŋāĻŦā§āĻļāĻŋāĻ āĻļā§āĻĻā§āĻ§āĻŋāĻ° āĻāĻŋāĻšā§āĻ¨ āĻāĻŦāĻ āĻ āĻ¸ā§āĻā§āĻ°ā§āĻ˛āĻŋāĻ¯āĻŧāĻžāĻ¯āĻŧ āĻļāĻžāĻ¸ā§āĻ¤āĻŋāĻŽā§āĻ˛āĻ āĻāĻĒāĻ¨āĻŋāĻŦā§āĻļ āĻ¸ā§āĻĨāĻžāĻĒāĻ¨ā§āĻ° āĻĒāĻĻā§āĻ§āĻ¤āĻŋāĻ¤ā§ āĻĒā§āĻ°āĻ¸ā§āĻ¤ā§āĻ¤ āĻāĻŦāĻ āĻļāĻā§āĻ¤āĻŋāĻļāĻžāĻ˛ā§ āĻāĻŦāĻ āĻĻā§āĻ°ā§āĻ¨ā§āĻ¤āĻŋāĻā§āĻ°āĻ¸ā§āĻĨ āĻāĻāĻāĻŋ āĻĻāĻā§āĻˇāĻŋāĻŖ āĻāĻŽā§āĻ°āĻŋāĻāĻž āĻĒā§āĻ°āĻāĻžāĻ¤āĻ¨ā§āĻ¤ā§āĻ°āĨ¤ āĻ¸ā§āĻ¤āĻ°āĻžāĻ āĻāĻāĻ°ā§āĻā§ āĻāĻĒāĻ¨ā§āĻ¯āĻžāĻ¸āĻā§āĻ˛āĻŋ āĻ¸āĻžāĻŽā§āĻ°āĻžāĻā§āĻ¯āĻŦāĻžāĻĻā§āĻ° āĻāĻŋāĻ°āĻ¨ā§āĻ¤āĻ¨āĻ¤āĻžāĻ° āĻĒā§āĻ°āĻŦāĻā§āĻ¤āĻžāĨ¤
La mission civilisatrice or civilizing mission:
Civilizing mission was inaugurated by Portugal and France in 15th century and flourished by Great Britain. According to Edward said, Joseph Conrad is the precursor of the western views of the third world. Conradâs novel âNostromoâ published in 1904 embodies paternalistic arrogance of imperialism. The term paternalistic arrogance concerns the imperialists that dominate the natives as an intruder providing all kinds of necessities without giving rights and it is noticed that such kind of bloody political thinking is pertinent in the third world even nowadays. He, Joseph Conrad, seems to be saying in the subtle going into of Said.
âWe westerners will decide who is a good native or bad,
because all natives have sufficient existence by virtue of our recognition.â
So, the English novels have been able to understand and realize the imperialists that the other name of âla mission civilisatriceâ is eternal domination and looting in a non-violent way.
āĻ˛āĻž āĻŽāĻŋāĻļāĻ¨ āĻ¸āĻŋāĻāĻŋāĻ˛āĻŋāĻ¯āĻŧāĻžāĻ¸āĻā§āĻ°āĻžāĻāĻ¸ āĻŦāĻž āĻ¸āĻā§āĻ¯ āĻŽāĻŋāĻļāĻ¨:
āĻ¸āĻā§āĻ¯ āĻŽāĻŋāĻļāĻ¨āĻāĻŋ 15 āĻļāĻ¤āĻžāĻŦā§āĻĻā§āĻ¤ā§ āĻĒāĻ°ā§āĻ¤ā§āĻāĻžāĻ˛ āĻāĻŦāĻ āĻĢā§āĻ°āĻžāĻ¨ā§āĻ¸ āĻĻā§āĻŦāĻžāĻ°āĻž āĻāĻĻā§āĻŦā§āĻ§āĻ¨ āĻāĻ°āĻž āĻšāĻ¯āĻŧā§āĻāĻŋāĻ˛ āĻāĻŦāĻ āĻāĻāĻŋ āĻā§āĻ°ā§āĻ āĻŦā§āĻ°āĻŋāĻā§āĻ¨ā§āĻ° āĻĻā§āĻŦāĻžāĻ°āĻž āĻŦāĻŋāĻāĻžāĻļ āĻ˛āĻžāĻ āĻāĻ°ā§āĻāĻŋāĻ˛āĨ¤ āĻāĻĄāĻāĻ¯āĻŧāĻžāĻ°ā§āĻĄā§āĻ° āĻŽāĻ¤ā§, āĻā§āĻ¸ā§āĻĢ āĻāĻ¨āĻ°āĻžāĻĄ āĻ¤ā§āĻ¤ā§āĻ¯āĻŧ āĻŦāĻŋāĻļā§āĻŦā§āĻ° āĻĒāĻļā§āĻāĻŋāĻŽā§ āĻĻā§āĻˇā§āĻāĻŋāĻāĻā§āĻāĻŋāĻ° āĻ āĻā§āĻ°āĻĻā§āĻ¤ āĻāĻŋāĻ˛ā§āĻ¨āĨ¤ 1904 āĻ¸āĻžāĻ˛ā§ āĻĒā§āĻ°āĻāĻžāĻļāĻŋāĻ¤ āĻāĻ¨āĻ°āĻžāĻĄā§āĻ° āĻāĻĒāĻ¨ā§āĻ¯āĻžāĻ¸ “āĻ¨āĻ¸ā§āĻā§āĻ°ā§āĻŽā§” āĻ¸āĻžāĻŽā§āĻ°āĻžāĻā§āĻ¯āĻŦāĻžāĻĻā§āĻ° āĻĒā§āĻ¤ā§āĻ āĻ āĻāĻŋāĻŽāĻžāĻ¨āĻā§ āĻŽā§āĻ°ā§āĻ¤ āĻāĻ°ā§āĻā§āĨ¤ āĻĒā§āĻ¯āĻžāĻāĻžāĻ°ā§āĻ¨āĻžāĻ˛āĻŋāĻ¸ā§āĻāĻŋāĻ āĻāĻ āĻļāĻŦā§āĻĻāĻāĻŋ āĻ¸āĻžāĻŽā§āĻ°āĻžāĻā§āĻ¯āĻŦāĻžāĻĻā§āĻĻā§āĻ° āĻ¸āĻŽā§āĻĒāĻ°ā§āĻā§ āĻāĻĻā§āĻŦā§āĻ āĻĒā§āĻ°āĻāĻžāĻļ āĻāĻ°ā§ āĻ¯ā§ āĻā§āĻ¨āĻ āĻ āĻ¨ā§āĻĒā§āĻ°āĻŦā§āĻļāĻāĻžāĻ°ā§ āĻšāĻŋāĻ¸āĻžāĻŦā§ āĻ āĻ§āĻŋāĻāĻžāĻ° āĻ¨āĻž āĻĻāĻŋāĻ¯āĻŧā§ āĻ¤āĻžāĻĻā§āĻ°āĻā§ āĻ¸āĻŽāĻ¸ā§āĻ¤ āĻĒā§āĻ°āĻāĻžāĻ°ā§āĻ° āĻ¸āĻ°āĻŦāĻ°āĻžāĻšāĻāĻžāĻ°ā§ āĻšāĻŋāĻ¸āĻžāĻŦā§ āĻāĻ§āĻŋāĻĒāĻ¤ā§āĻ¯ āĻŦāĻŋāĻ¸ā§āĻ¤āĻžāĻ° āĻāĻ°ā§ āĻāĻŦāĻ āĻāĻāĻŋ āĻ˛āĻā§āĻˇ āĻāĻ°āĻž āĻ¯āĻžāĻ¯āĻŧ āĻ¯ā§ āĻāĻāĻāĻžāĻ˛ āĻ¤ā§āĻ¤ā§āĻ¯āĻŧ āĻŦāĻŋāĻļā§āĻŦā§ āĻāĻ āĻāĻžāĻ¤ā§āĻ¯āĻŧ āĻ°āĻā§āĻ¤āĻžāĻā§āĻ¤ āĻ°āĻžāĻāĻ¨ā§āĻ¤āĻŋāĻ āĻāĻŋāĻ¨ā§āĻ¤āĻžāĻāĻžāĻŦāĻ¨āĻž āĻĒā§āĻ°āĻžāĻ¸āĻā§āĻāĻŋāĻāĨ¤
âāĻāĻŽāĻ°āĻž āĻĒāĻļā§āĻāĻŋāĻŽāĻžāĻ°āĻž āĻ¸āĻŋāĻĻā§āĻ§āĻžāĻ¨ā§āĻ¤ āĻ¨ā§āĻŦ āĻā§āĻ¨ āĻ¨ā§āĻāĻŋāĻ āĻāĻžāĻ˛ āĻŦāĻž āĻāĻžāĻ°āĻžāĻĒ,
āĻāĻžāĻ°āĻŖ āĻāĻŽāĻžāĻĻā§āĻ° āĻ¸ā§āĻŦā§āĻā§āĻ¤āĻŋ āĻ āĻ¨ā§āĻ¸āĻžāĻ°ā§ āĻ¸āĻŽāĻ¸ā§āĻ¤ āĻ¨ā§āĻāĻŋāĻā§āĻ° āĻĒāĻ°ā§āĻ¯āĻžāĻĒā§āĻ¤ āĻ āĻ¸ā§āĻ¤āĻŋāĻ¤ā§āĻŦ āĻāĻā§āĨ¤ “
āĻ¸ā§āĻ¤āĻ°āĻžāĻ, āĻāĻāĻ°ā§āĻā§ āĻāĻĒāĻ¨ā§āĻ¯āĻžāĻ¸āĻā§āĻ˛āĻŋ āĻ¸āĻžāĻŽā§āĻ°āĻžāĻā§āĻ¯āĻŦāĻžāĻĻā§āĻĻā§āĻ° āĻŦā§āĻāĻ¤ā§ āĻāĻŦāĻ āĻŦā§āĻāĻ¤ā§ āĻ¸āĻā§āĻˇāĻŽ āĻšāĻ¯āĻŧā§āĻā§ āĻ¯ā§ “āĻ˛āĻž āĻŽāĻŋāĻļāĻ¨ āĻ¸āĻŋāĻāĻŋāĻ˛āĻŋāĻ¯āĻŧāĻžāĻ¸āĻā§āĻ°āĻžāĻāĻ¸” āĻāĻ° āĻ āĻĒāĻ° āĻ¨āĻžāĻŽ āĻ āĻšāĻŋāĻāĻ¸ āĻāĻĒāĻžāĻ¯āĻŧā§ āĻāĻŋāĻ°āĻ¸ā§āĻĨāĻžāĻ¯āĻŧā§ āĻāĻ§āĻŋāĻĒāĻ¤ā§āĻ¯ āĻāĻŦāĻ āĻ˛ā§āĻāĻĒāĻžāĻāĨ¤
Anti-imperialistic view:
Now it must be a question of how the anti-imperialistic view can be an issue of expanding and eternalizing imperialism. It is very interesting to note that Mr. Said has blazoned his mastery to figure out this. In conformity with Said, Conradâs vilification against imperialism has better concerned the imperialists as to the following facts.
- Comprehension of foreign cultures.
- Political willingness as alternative to imperialism etc.
That is why Said tells the world:
âTo the extent that we see Conrad both criticizing
and reproducing the imperial ideology of his timeâ
āĻ¸āĻžāĻŽā§āĻ°āĻžāĻā§āĻ¯āĻŦāĻžāĻĻāĻŦāĻŋāĻ°ā§āĻ§ā§ āĻĻā§āĻˇā§āĻāĻŋāĻāĻā§āĻāĻŋ:
āĻ¸āĻžāĻŽā§āĻ°āĻžāĻā§āĻ¯āĻŦāĻžāĻĻāĻŦāĻŋāĻ°ā§āĻ§ā§ āĻĻā§āĻˇā§āĻāĻŋāĻāĻā§āĻāĻŋ āĻā§āĻāĻžāĻŦā§ āĻ¸āĻžāĻŽā§āĻ°āĻžāĻā§āĻ¯āĻŦāĻžāĻĻā§āĻ° āĻŦāĻŋāĻ¸ā§āĻ¤ā§āĻ¤āĻŋ āĻ āĻāĻŋāĻ°āĻ¸ā§āĻĨāĻžāĻ¯āĻŧā§āĻāĻ°āĻŖā§āĻ° āĻŦāĻŋāĻˇāĻ¯āĻŧ āĻšāĻ¤ā§ āĻĒāĻžāĻ°ā§ āĻ¤āĻž āĻāĻāĻ¨āĻ āĻĒā§āĻ°āĻļā§āĻ¨ āĻšāĻāĻ¯āĻŧāĻž āĻāĻāĻŋāĻ¤āĨ¤ āĻāĻāĻž āĻ˛āĻā§āĻˇāĻŖā§āĻ¯āĻŧ āĻŦāĻŋāĻˇāĻ¯āĻŧ āĻ¯ā§ āĻāĻ¨āĻžāĻŦ āĻ¸āĻžāĻāĻĻ āĻāĻ āĻŦāĻŋāĻˇāĻ¯āĻŧāĻāĻŋ āĻ¸āĻ¨āĻžāĻā§āĻ¤ āĻāĻ°āĻžāĻ° āĻāĻ¨ā§āĻ¯ āĻ¤āĻžāĻāĻ° āĻĒā§āĻ°āĻā§āĻ¤ā§āĻŦāĻā§ āĻā§āĻˇāĻŖāĻž āĻāĻ°ā§āĻā§āĻ¨āĨ¤ āĻ¸ā§āĻ¯āĻŧāĻĻā§āĻ° āĻ¸āĻžāĻĨā§ āĻ¸āĻā§āĻāĻ¤āĻŋāĻĒā§āĻ°ā§āĻŖāĻāĻžāĻŦā§, āĻ¸āĻžāĻŽā§āĻ°āĻžāĻā§āĻ¯āĻŦāĻžāĻĻā§āĻ° āĻŦāĻŋāĻ°ā§āĻĻā§āĻ§ā§ āĻāĻ¨āĻ°āĻžāĻĄā§āĻ° āĻā§āĻĄāĻŧāĻžāĻ¨ā§āĻ¤ āĻāĻāĻ¨āĻž āĻ¸āĻžāĻŽā§āĻ°āĻžāĻā§āĻ¯āĻŦāĻžāĻĻā§āĻĻā§āĻ° āĻ¨āĻŋāĻŽā§āĻ¨āĻ˛āĻŋāĻāĻŋāĻ¤ āĻŦāĻŋāĻˇāĻ¯āĻŧāĻā§āĻ˛āĻŋāĻ° āĻ¸āĻŽā§āĻĒāĻ°ā§āĻā§ āĻāĻ°āĻ āĻāĻžāĻ˛āĻāĻžāĻŦā§ āĻĒā§āĻ°āĻāĻžāĻļ āĻāĻ°ā§āĨ¤
- āĻŦāĻŋāĻĻā§āĻļā§ āĻ¸āĻāĻ¸ā§āĻā§āĻ¤āĻŋāĻ° āĻāĻĒāĻ˛āĻŦā§āĻ§āĻŋāĨ¤
- āĻ¸āĻžāĻŽā§āĻ°āĻžāĻā§āĻ¯āĻŦāĻžāĻĻā§āĻ° āĻŦāĻŋāĻāĻ˛ā§āĻĒ āĻšāĻŋāĻ¸āĻžāĻŦā§ āĻ°āĻžāĻāĻ¨ā§āĻ¤āĻŋāĻ āĻ¸āĻĻāĻŋāĻā§āĻāĻž āĻāĻ¤ā§āĻ¯āĻžāĻĻāĻŋāĨ¤
āĻāĻ āĻāĻžāĻ°āĻŖā§āĻ āĻ¸āĻžāĻāĻĻ āĻŦāĻŋāĻļā§āĻŦāĻā§ āĻŦāĻ˛ā§:
âāĻāĻ¨āĻ°āĻžāĻĄ āĻāĻāĻ¯āĻŧāĻā§āĻ āĻ¸āĻŽāĻžāĻ˛ā§āĻāĻ¨āĻž āĻāĻ°āĻ¤ā§ āĻĻā§āĻāĻāĻŋ
āĻāĻŦāĻ āĻ¤āĻžāĻāĻ° āĻ¸āĻŽāĻ¯āĻŧā§āĻ° āĻ°āĻžāĻāĻā§āĻ¯āĻŧ āĻāĻĻāĻ°ā§āĻļā§āĻ° āĻĒā§āĻ¨āĻ°ā§āĻ¤ā§āĻĒāĻžāĻĻāĻ¨ â
Conclusion: In termination, it can be simultaneously related that if there is no English novel, there is no perpetuation of imperialism and there is no imperialism, there is no progress of English novel as Dickens is the prolific master of narrative fiction.
7. Discuss how Eagleton links the rise of English to the crisis in modern civilization.
Introduction: Terry Eagleton is a British literary theorist, critic, and public intellectual. âThe Rise of Englishâ is one of his critical essays in which he has depicted the significance of literature because of the crisis of modern civilization. From the very outset of the modern sense of literature, modern civilization started to suffer from different types of crises.
āĻā§āĻŽāĻŋāĻāĻž: āĻā§āĻ°āĻŋ āĻāĻāĻ˛āĻāĻ¨ āĻšāĻ˛ā§āĻ¨ āĻāĻāĻāĻ¨ āĻŦā§āĻ°āĻŋāĻāĻŋāĻļ āĻ¸āĻžāĻšāĻŋāĻ¤ā§āĻ¯āĻŋāĻ āĻ¤āĻžāĻ¤ā§āĻ¤ā§āĻŦāĻŋāĻ, āĻ¸āĻŽāĻžāĻ˛ā§āĻāĻ āĻāĻŦāĻ āĻŦā§āĻĻā§āĻ§āĻŋāĻā§āĻŦā§āĨ¤ âThe Rise of Englishâ āĻ¤āĻžāĻāĻ° āĻ āĻ¨ā§āĻ¯āĻ¤āĻŽ āĻ¸āĻŽāĻžāĻ˛ā§āĻāĻ¨āĻžāĻŽā§āĻ˛āĻ āĻĒā§āĻ°āĻŦāĻ¨ā§āĻ§ āĻ¯āĻž āĻāĻ§ā§āĻ¨āĻŋāĻ āĻ¸āĻā§āĻ¯āĻ¤āĻžāĻ° āĻ¸āĻāĻāĻā§āĻ° āĻāĻžāĻ°āĻŖā§ āĻ¤āĻŋāĻ¨āĻŋ āĻ¸āĻžāĻšāĻŋāĻ¤ā§āĻ¯ā§āĻ° āĻ¤āĻžāĻ¤ā§āĻĒāĻ°ā§āĻ¯ āĻāĻŋāĻ¤ā§āĻ°āĻŋāĻ¤ āĻāĻ°ā§āĻā§āĻ¨āĨ¤ āĻāĻ§ā§āĻ¨āĻŋāĻ āĻ¸āĻžāĻšāĻŋāĻ¤ā§āĻ¯ā§ āĻŦā§āĻ§ā§āĻ° āĻ¸ā§āĻāĻ¨āĻž āĻĨā§āĻā§āĻ āĻāĻ§ā§āĻ¨āĻŋāĻ āĻ¸āĻā§āĻ¯āĻ¤āĻž āĻŦāĻŋāĻāĻŋāĻ¨ā§āĻ¨ āĻ§āĻ°āĻŖā§āĻ° āĻ¸āĻāĻāĻā§ āĻā§āĻāĻ¤ā§ āĻļā§āĻ°ā§ āĻāĻ°ā§āĨ¤
The failure of religion
The first and foremost crisis of modern civilization we get in the essay âThe Rise of Englishâ is the failure of religion in the mid-Victorian period. Religion and science became rivals for each other and the twin impacts of science and social change made religion unreliable at the bottom. The Victorian ruling class was worried because it is universally accepted that religion is an effective form of ideological control. Like all successful ideologies, it works much less by explicit concepts than by image, symbol, habit, ritual, and mythology. To save the nation from this crisis English literature came forward and showed its success too.
āĻ§āĻ°ā§āĻŽā§āĻ° āĻŦā§āĻ¯āĻ°ā§āĻĨāĻ¤āĻž
āĻāĻ§ā§āĻ¨āĻŋāĻ āĻ¸āĻā§āĻ¯āĻ¤āĻžāĻ° āĻĒā§āĻ°āĻĨāĻŽ āĻāĻŦāĻ āĻ¸āĻ°ā§āĻŦāĻžāĻ§āĻŋāĻ āĻ¸āĻāĻāĻ āĻ¯āĻž āĻāĻŽāĻ°āĻž âThe Rise of Englishâ āĻĒā§āĻ°āĻŦāĻ¨ā§āĻ§ā§ āĻĒāĻžāĻ, āĻāĻāĻŋ āĻš’āĻ˛ āĻŽāĻ§ā§āĻ¯-āĻāĻŋāĻā§āĻā§āĻ°āĻŋāĻ¯āĻŧāĻžāĻ¨ āĻ¸āĻŽāĻ¯āĻŧāĻāĻžāĻ˛ā§ āĻ§āĻ°ā§āĻŽā§āĻ° āĻŦā§āĻ¯āĻ°ā§āĻĨāĻ¤āĻžāĨ¤ āĻ§āĻ°ā§āĻŽ āĻāĻŦāĻ āĻŦāĻŋāĻā§āĻāĻžāĻ¨ āĻāĻā§ āĻ āĻĒāĻ°ā§āĻ° āĻĒā§āĻ°āĻ¤āĻŋāĻĻā§āĻŦāĻ¨ā§āĻĻā§āĻŦā§ āĻšāĻ¯āĻŧā§ āĻāĻ ā§ āĻāĻŦāĻ āĻŦāĻŋāĻā§āĻāĻžāĻ¨ āĻāĻŦāĻ āĻ¸āĻžāĻŽāĻžāĻāĻŋāĻ āĻĒāĻ°āĻŋāĻŦāĻ°ā§āĻ¤āĻ¨ā§āĻ° āĻĻā§āĻŦāĻŋāĻā§āĻŖ āĻĒā§āĻ°āĻāĻžāĻŦ āĻ§āĻ°ā§āĻŽāĻā§ āĻ āĻŦāĻŋāĻļā§āĻŦāĻžāĻ¸ā§āĻ¯ āĻāĻ°ā§ āĻ¤ā§āĻ˛ā§āĨ¤ āĻāĻŋāĻā§āĻā§āĻ°āĻŋāĻ¯āĻŧāĻžāĻ¨ āĻļāĻžāĻ¸āĻ āĻļā§āĻ°ā§āĻŖāĻŋ āĻāĻŋāĻ¨ā§āĻ¤āĻŋāĻ¤ āĻāĻŋāĻ˛ āĻāĻžāĻ°āĻŖ āĻ¸āĻ°ā§āĻŦāĻāĻ¨āĻ¸ā§āĻŦā§āĻā§āĻ¤ āĻ¯ā§ āĻ§āĻ°ā§āĻŽ āĻāĻĻāĻ°ā§āĻļāĻŋāĻ āĻ¨āĻŋāĻ¯āĻŧāĻ¨ā§āĻ¤ā§āĻ°āĻŖā§āĻ° āĻāĻ¨ā§āĻ¯ āĻāĻžāĻ°ā§āĻ¯āĻāĻ° āĻ°ā§āĻĒāĨ¤ āĻ¸āĻŽāĻ¸ā§āĻ¤ āĻ¸āĻĢāĻ˛ āĻŽāĻ¤āĻžāĻĻāĻ°ā§āĻļā§āĻ° āĻŽāĻ¤ā§, āĻāĻāĻŋ āĻāĻŋāĻ¤ā§āĻ°, āĻĒā§āĻ°āĻ¤ā§āĻ, āĻ āĻā§āĻ¯āĻžāĻ¸, āĻāĻāĻžāĻ° āĻāĻŦāĻ āĻĒā§āĻ°āĻžāĻŖāĻŋāĻ āĻāĻžāĻšāĻŋāĻ¨ā§āĻā§āĻ˛āĻŋāĻ° āĻ¤ā§āĻ˛āĻ¨āĻžāĻ¯āĻŧ āĻ¸ā§āĻ¸ā§āĻĒāĻˇā§āĻ āĻ§āĻžāĻ°āĻŖāĻž āĻĻā§āĻŦāĻžāĻ°āĻž āĻ āĻ¨ā§āĻ āĻāĻŽ āĻāĻžāĻ āĻāĻ°ā§āĨ¤ āĻāĻ āĻ¸āĻāĻāĻ āĻĨā§āĻā§ āĻāĻžāĻ¤āĻŋāĻā§ āĻŦāĻžāĻāĻāĻžāĻ¤ā§ āĻāĻāĻ°ā§āĻā§ āĻ¸āĻžāĻšāĻŋāĻ¤ā§āĻ¯ āĻāĻāĻŋāĻ¯āĻŧā§ āĻāĻ¸ā§āĻāĻŋāĻ˛ āĻāĻŦāĻ āĻāĻ° āĻ¸āĻžāĻĢāĻ˛ā§āĻ¯āĻ āĻĻā§āĻāĻŋāĻ¯āĻŧā§āĻāĻŋāĻ˛āĨ¤
The wasteland
Terry Eagleton has cited that modern âEngland is sickâ that was commented by George Gordon, who was an early professor of English Literature at Oxford, in his inaugural lecture. The churches were failed and social remedies were slow. English literature has now a triple function to delight, instruct and save us. Thus, English is constructed as a subject to carry away the burden from the Victorian period onwards. According to Eagleton, Matthew Arnold is here the key figure because he recognizes the urgent social need.
âIt is of itself a serious calamity for a nation that its tone of feeling and grandeur of spirit should be lowered or dulledâ
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āĻā§āĻ°āĻŋ āĻāĻāĻ˛āĻāĻ¨ āĻĒā§āĻ°āĻāĻžāĻļ āĻāĻ°ā§āĻā§āĻ¨ āĻ¯ā§ āĻāĻ§ā§āĻ¨āĻŋāĻ “āĻāĻāĻ˛ā§āĻ¯āĻžāĻ¨ā§āĻĄ āĻ āĻ¸ā§āĻ¸ā§āĻĨ” āĻ¤āĻžāĻ° āĻāĻĻā§āĻŦā§āĻ§āĻ¨ā§ āĻŦāĻā§āĻ¤ā§āĻ¤āĻžāĻ¯āĻŧ āĻŽāĻ¨ā§āĻ¤āĻŦā§āĻ¯ āĻāĻ°ā§āĻāĻŋāĻ˛ā§āĻ¨ āĻ āĻā§āĻ¸āĻĢā§āĻ°ā§āĻĄā§āĻ° āĻāĻāĻ°ā§āĻāĻŋ āĻ¸āĻžāĻšāĻŋāĻ¤ā§āĻ¯ā§āĻ° āĻĒā§āĻ°āĻžāĻ°āĻŽā§āĻāĻŋāĻ āĻ āĻ§ā§āĻ¯āĻžāĻĒāĻ āĻāĻ°ā§āĻ āĻāĻ°ā§āĻĄāĻ¨ āĨ¤ āĻā§āĻ°ā§āĻāĻžāĻā§āĻ˛āĻŋ āĻŦā§āĻ¯āĻ°ā§āĻĨ āĻšāĻ¯āĻŧā§āĻāĻŋāĻ˛ āĻāĻŦāĻ āĻ¸āĻžāĻŽāĻžāĻāĻŋāĻ āĻĒā§āĻ°āĻ¤āĻŋāĻāĻžāĻ°āĻā§āĻ˛āĻŋ āĻ¨āĻŋāĻŽā§āĻ¨ āĻāĻ¤āĻŋāĻ¸āĻŽā§āĻĒā§āĻ°ā§āĻŖ āĻšāĻ¯āĻŧā§ āĻāĻŋāĻ¯āĻŧā§āĻāĻŋāĻ˛ā§āĨ¤āĻāĻāĻ°āĻžāĻā§ āĻ¸āĻžāĻšāĻŋāĻ¤ā§āĻ¯ā§ āĻāĻāĻ¨ āĻāĻŽāĻžāĻĻā§āĻ° āĻāĻ¨āĻ¨ā§āĻĻ, āĻĒā§āĻ°āĻļāĻŋāĻā§āĻˇāĻŖ āĻāĻŦāĻ āĻŦāĻžāĻāĻāĻžāĻ¤ā§ āĻāĻžāĻ āĻāĻ°ā§āĻā§āĨ¤ āĻ¸ā§āĻ¤āĻ°āĻžāĻ, āĻāĻŋāĻā§āĻā§āĻ°āĻŋāĻ¯āĻŧāĻžāĻ¨ āĻ¸āĻŽāĻ¯āĻŧ āĻĨā§āĻā§ āĻĻāĻžāĻ¯āĻŧāĻŋāĻ¤ā§āĻŦ āĻŦāĻšāĻ¨ āĻāĻ°āĻžāĻ° āĻāĻ¨ā§āĻ¯ āĻāĻāĻ°ā§āĻā§ āĻāĻāĻāĻŋ āĻŦāĻŋāĻˇāĻ¯āĻŧā§ āĻĒāĻ°āĻŋāĻŖāĻ¤ āĻšāĻ¯āĻŧāĨ¤ āĻāĻāĻ˛ā§āĻāĻ¨ā§āĻ° āĻŽāĻ¤ā§, āĻŽā§āĻ¯āĻžāĻĨāĻŋāĻ āĻāĻ°ā§āĻ¨āĻ˛ā§āĻĄ āĻāĻāĻžāĻ¨ā§ āĻŽā§āĻ˛ āĻŦā§āĻ¯āĻā§āĻ¤āĻŋāĻ¤ā§āĻŦ āĻāĻžāĻ°āĻŖ āĻ¤āĻŋāĻ¨āĻŋ āĻāĻ°ā§āĻ°āĻŋ āĻ¸āĻžāĻŽāĻžāĻāĻŋāĻ āĻĒā§āĻ°āĻ¯āĻŧā§āĻāĻ¨āĻā§ āĻ¸ā§āĻŦā§āĻā§āĻ¤āĻŋ āĻĻāĻŋāĻ¯āĻŧā§āĻā§āĻ¨āĨ¤
“āĻāĻāĻŋ āĻ¨āĻŋāĻā§āĻ āĻāĻāĻāĻŋ āĻŽāĻžāĻ°āĻžāĻ¤ā§āĻŽāĻ āĻŦāĻŋāĻĒāĻ°ā§āĻ¯āĻ¯āĻŧ āĻ¯ā§ āĻāĻ° āĻ āĻ¨ā§āĻā§āĻ¤āĻŋ āĻāĻŦāĻ āĻā§āĻ¤āĻ¨āĻžāĻ° āĻŽāĻšāĻŋāĻŽāĻž āĻ¸ā§āĻŦāĻ°āĻā§ āĻšā§āĻ°āĻžāĻ¸ āĻāĻ°āĻž āĻŦāĻž āĻāĻāĻāĻžāĻ¨ā§ āĻāĻāĻŋāĻ¤”
Political bigotry and ideological extremism
Another traceable crisis of modern civilization is political bigotry and ideological extremism. Getting rid of the crisis, literature is the potent antidote as we know that it deals with universal human values rather than the historical civil wars, oppression of women or the dispossession of the English peasantry. And, certainly, literature helps to promote sympathy and fellow feeling among all classes.
āĻ°āĻžāĻāĻ¨ā§āĻ¤āĻŋāĻ āĻā§āĻāĻĄāĻŧāĻžāĻŽāĻŋ āĻāĻŦāĻ āĻāĻĻāĻ°ā§āĻļāĻŋāĻ āĻāĻ°āĻŽāĻĒāĻ¨ā§āĻĨāĻž
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Bourgeois or conservative civilization
Bourgeois or conservative civilization is acute in the habits of thought and feeling of modern civilization. People are very much self-centered and not at all cooperative with each other. They pursue knowledge for their moral riches but their educational pursuit must be called a scanty education. According to a study of English Literature written in 1891, people need political culture and instruction so that they can perform their duties as citizens.
āĻŦā§āĻ°ā§āĻā§āĻ¯āĻŧāĻž āĻŦāĻž āĻ°āĻā§āĻˇāĻŖāĻļā§āĻ˛ āĻ¸āĻā§āĻ¯āĻ¤āĻž
āĻŦā§āĻ°ā§āĻā§āĻ¯āĻŧāĻž āĻŦāĻž āĻ°āĻā§āĻˇāĻŖāĻļā§āĻ˛ āĻ¸āĻā§āĻ¯āĻ¤āĻž āĻāĻ§ā§āĻ¨āĻŋāĻ āĻ¸āĻā§āĻ¯āĻ¤āĻžāĻ° āĻāĻŋāĻ¨ā§āĻ¤āĻžāĻāĻžāĻŦāĻ¨āĻž āĻāĻŦāĻ āĻ āĻ¨ā§āĻā§āĻ¤āĻŋāĻā§āĻ˛āĻŋāĻ° āĻ¤ā§āĻŦā§āĻ° āĻ¸ā§āĻŦāĻāĻžāĻŦāĨ¤ āĻ˛ā§āĻā§āĻ°āĻž āĻā§āĻŦ āĻ¸ā§āĻŦ-āĻā§āĻ¨ā§āĻĻā§āĻ°āĻŋāĻ āĻāĻŦāĻ āĻāĻā§ āĻ āĻĒāĻ°āĻā§ āĻŽā§āĻā§āĻ āĻ¸āĻšāĻ¯ā§āĻāĻŋāĻ¤āĻž āĻāĻ°ā§ āĻ¨āĻžāĨ¤ āĻ¤āĻžāĻ°āĻž āĻ¤āĻžāĻĻā§āĻ° āĻ¨ā§āĻ¤āĻŋāĻ āĻ§āĻ¨-āĻ¸āĻŽā§āĻĒāĻĻā§āĻ° āĻāĻ¨ā§āĻ¯ āĻā§āĻāĻžāĻ¨ āĻ āĻ°ā§āĻāĻ¨ āĻāĻ°ā§ āĻ¤āĻŦā§ āĻ¤āĻžāĻĻā§āĻ° āĻļāĻŋāĻā§āĻˇāĻžāĻā§āĻ°āĻšāĻŖāĻā§ āĻ āĻŦāĻļā§āĻ¯āĻ āĻāĻāĻāĻŋ āĻ¸ā§āĻŦāĻ˛ā§āĻĒ āĻļāĻŋāĻā§āĻˇāĻžāĻĻāĻžāĻ¨ āĻŦāĻ˛āĻž āĻ¯ā§āĻ¤ā§ āĻĒāĻžāĻ°ā§āĨ¤ 1891 āĻ¸āĻžāĻ˛ā§ āĻ°āĻāĻŋāĻ¤ āĻāĻāĻ°ā§āĻāĻŋ āĻ¸āĻžāĻšāĻŋāĻ¤ā§āĻ¯ā§āĻ° āĻāĻāĻāĻŋ āĻ āĻ§ā§āĻ¯āĻ¯āĻŧāĻ¨ āĻ āĻ¨ā§āĻ¸āĻžāĻ°ā§, āĻ˛ā§āĻā§āĻ°āĻž āĻ°āĻžāĻāĻ¨ā§āĻ¤āĻŋāĻ āĻ¸āĻāĻ¸ā§āĻā§āĻ¤āĻŋ āĻāĻŦāĻ āĻ¨āĻŋāĻ°ā§āĻĻā§āĻļāĻ¨āĻž āĻĒā§āĻ°āĻ¯āĻŧā§āĻāĻ¨ āĻ¯āĻžāĻ¤ā§ āĻ¤āĻžāĻ°āĻž āĻ¨āĻžāĻāĻ°āĻŋāĻ āĻšāĻŋāĻ¸āĻžāĻŦā§ āĻ¤āĻžāĻĻā§āĻ° āĻĻāĻžāĻ¯āĻŧāĻŋāĻ¤ā§āĻŦ āĻĒāĻžāĻ˛āĻ¨ āĻāĻ°āĻ¤ā§ āĻĒāĻžāĻ°ā§āĨ¤
Lack of light, knowledge, and morality
According to Eagleton, literature from Arnold onwards is an enemy of ideological dogma that seems irrelevant when we read the writing of Dante, Milton and Pope, and of course Shakespeare. He also suggests that if anyone wants to get ideas about the evil of imperialism, he needs to travel to Africa but his demand can be fulfilled without going to Africa if he reads Conrad or Kipling. Thus, literature is the preacher of light, knowledge, and morality.
āĻāĻ˛ā§, āĻā§āĻāĻžāĻ¨ āĻāĻŦāĻ āĻ¨ā§āĻ¤āĻŋāĻāĻ¤āĻžāĻ° āĻ āĻāĻžāĻŦ
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Conclusion: In termination, it is transparent that The Rise of English means the development of English literature has been smooth because of the acute problem of modern civilization as it meets the demand of the time in the time of crisis.
8. Question: Discuss the term dissociation of Sensibility.
Introduction: The term dissociation of sensibility was first used by Thomas Stearns Eliot (1888-1865) in his famous essay âThe Metaphysical Poetsâ. It refers to the way in which intellectual thought was separated from the experience of feeling in the seventeenth century.
Basic concept on the dissociation of sensibility: The term dissociation of sensibility comprises two words which are dissociation and sensibility. The meaning of the word dissociation is separation or detachment and sensibility is sensation or feeling. So, this term stands for detachment of thought from sensation in the case of poetry writing.
Clear concept on the unification of sensibility: Before elaborating the dissociation of sensibility, the unification of sensibility should be clarified so that we can appreciate the intellectual or metaphysical poets very well and conspicuously. The term âunification of sensibilityâ means fusion of thought and feeling by the early Jacobean poets, especially by John Donne first. By this term, Eliot links between the modern poets and metaphysical poets.
Difference between intellectual and reflective poets: Eliot points out that the term dissociation of sensibility has made the difference between the intellectual poets, which means the metaphysical poets and the reflective poets. The intellectual poets unified thought and feeling together but the reflective poets separated the feeling or sensibility from thought. According to Eliot, Tennyson and Browning are great poets but they are devoid of fidelity of thought and feeling simultaneously like Donne or Lord Herbert of Cherbury.
âTennyson and Browning are poets, and they think; but they do not feel their thought as immediately as the odour of a rose.â
Thus, Eliot argues that dissociation of sensibility is not better than the unification of sensibility to produce good poetry. âA Valediction Forbidding Morningâ is a superb example of unification of sensibility in which the poet compares two lovers to a pair of compasses.
The natural development of poetry: According to Eliot, the dissociation of sensibility was the result of the natural development of poetry after the metaphysical. Eliot asserts that dissociation of sensibility was established by the influence of two powerful poets of the late seventeenth century â Milton and Dryden and we have never recovered. In fact, Eliot means to say that the poetic functions of Milton and Dryden were so magnificently well that the magnitude of expansion of their poetic effects concealed or covered the other poetsâ merits. The critic says that their use of language was so refined but there was a huge lack of feeling in their writings that is why Eliot has preferred the unification of sensibility which means simply fusion of feeling and thought together to the dissociation of sensibility.
Distinguishing between language and feelings: Eliot goes on telling that the other poets such as Collins, Gray, Johnson, and Goldsmith who followed this term perfectly satisfy our fastidious demands better than that of Donne, Marvell, or King. Their language also becomes more refined but the feeling is cruder. He cites an example from Grayâs poem âCountry Churchyardâ because the feeling or sensibility expressed in the poem is cruder than that in âCoy Mistressâ by Andrew Marvell who is one of the excellent metaphysical poets in accordance with Eliot. Thus, he evaluates the intellectual or metaphysical poets from a very different angle which is really praiseworthy.
Criticism: Though Eliot is unanimously accepted for his term âdissociation of sensibilityâ, he has to face a very critical question that the very term was originated because of the English civil war. He does not agree or disagree with this question and he also tells us that it is very perilous to reject Johnsonâs arguments as to metaphysical poets and poetry.
Conclusion: From the light of the above discussion it can be said that Eliot is not only a genius critic but also a founder of intellectual poets in the mind of the readers forever by the dint of his two terms which are the dissociation of sensibility and unification of sensibility.