Sunday, 31 January 2021

Thinking Activity : The Important of Being Earnest

The Important of Being Earnest: -

Oscar wield :- 

              

               Oscar Wilde,  full  name was Oscar Fingal O’Flahertie Wills Wilde, he was born in October 16, 1854, Dublin, Ireland and died November 30, 1900,in Paris, France, Irish  wit, poet, and dramatist whose reputation rests on his only novel, The Picture of Dorian Gray , and on his comic masterpieces Lady Windermere’s Fan and The Importance of Being Earnest (1895). He was a spokesman for the late 19th-century Aesthetic movement in England, which advocated art for art's sake, and he was the object of celebrated civil and criminal suits involving homosexuality and ending in his imprisonment .

             Oscar Wilde came from a prominent family. While studying at Oxford in the 1870s, he gained notice as a scholar, poseur, wit, and poet and for his devotion to the Aesthetic movement , which held that art should exist for its beauty alone. Wilde later established himself in London’s social and artistic circles.

        After his release from prison in 1897, Oscar Wilde lived in France in straitened circumstances. In 1900 at the age of 46, he died of  meningitis following an acute ear infection.

A trivial comedy for serious people; this is what Oscar Wilde subtitled his comedy The Importance Of Being Earnest. This subtitle can be interpreted in many different ways, as it forces the reader to question what we understand from the play itself, and how characters are portrayed throughout. I understand this in two different ways: one of which that Oscar Wilde was stating that this play is in fact for serious people, going to be trivial. The second way this could be interpreted is that he meant the subtitle in a very witty and sarcastic way.

Triviality affects what it is done to the audience; in this case to purely entertain them. Similarly to when each and every one of us turns on our TV, probably more than we actually should. Why? Because it simply wastes our time away when we believe that we have nothing better to do with our lives. And even though we probably do, it is belittled against the fact that we are a world of want and desire. Oscar Wilde, being the kind of writer that he was, could have wrote this extremely amusing play just to distract people from their lives and to let his audience enjoy what was put in front of them. One element that could have made this so much more effective is by the use of satire embedded within. Satire was not only used for the purpose of amusement, but also to make people aware of issues that were occurring every day for normal people of that time period. So if triviality is what he wished to put forward, then this subtitle would be taken quite literally.


Comedy of Manner :-


           The Importance of Being Earnest is an excellent example of a Comedy of Manners as it mocks the behaviours of Victorian aristocracy, it explores the social conduct of upper-middle class society. The plot revolves around lust between characters, the play features verbal wit and Algernon acts as an unscrupulous character - these are all main features of a Comedy of Manners.

One traditional convention Wilde uses in the first Act of The Importance of Being Earnest is by exploring the social conduct of the Victorian upper-middle class society. He does this with Lady Bracknell's character as she behaves as though she behaves as a male role in choosing who Gwendolyn should marry; "Pardon me, you are not engaged to any one. When you do become engaged to some one, I, or your father, should his health permit him, will inform you of the fact. An engagement ¦ And now I have a few questions to put to you Mr Worthing. While I am making these inquiries, you, Gwendolyn, will wait for me below in the carriage.  This implies that Lady Bracknell will choose who Gwendolyn marries as it was seen as women were too feeble and foolish to chose their husbands for themselves. Lady Bracknell will not let Gwendolyn marry without her approval, she asks Jack a series of questions which gives Jack the opportunity to gain Lady Bracknell's approval of him. " ¦ Should his health permit him Suggests that males are the weaker gender. The fact that she has taken on the fathers duty to approve his daughters marriage shows that Lady Bracknell is a strong willed woman and doesn't need a male to tell her what to do, she is very free willed and very independent who enjoys being the person in control. Lady Bracknell seems to be the sort of woman who trusts her own judgment and will do whatever she believes is the right thing, she will not listen to anyone but herself. This goes against the common behaviour of society as normally, the male is in charge and in control .

Victorian traditions and social customs:-


          Although he was born in Ireland, Oscar Wilde moved to England during his studies and became known there for his extravagance and decadence. Like many others, he noted the differences in the high moral standards that people displayed in social contexts, and the less proper behavior that took place when people were outside of the public eye. Perhaps due to the fact that he himself had to put on an act in public (since his sexual orientation was illegal at the time), Wilde came to see social interaction as a farce and wrote several social satires to highlight the strange perspectives and behaviors of the aristocracy.

Homosexual desire:-

Like oppressed minorities throughout the centuries, gay Victorians used a coded language to communicate privately with one another, a code designed to be undetectable by members of mainstream society.
On its surface, the plot of Wilde’s masterpiece seems irreproachable: Two bachelor pals, Jack and Algernon, pose as men named “Ernest” to woo the women of their dreams. But beneath its scrubbed and squeaky surface, Wilde’s play is permeated with barely concealed allusions to gay acquaintances, practices and locales. To help theater lovers crack the cipher, Ritsch and production dramaturge Lindsey Barr compiled a cheat sheet of the coded language below.
his sentence depicts a lot of the marital problems of the upper-class society in the Victorian age and Wilde was no exception to it.After getting married and having children, he lost interest in his wife and began a homosexual affair with Lord Alfred Douglas in the following years.As the plot develops, both bachelors reveal that they have created their altered egos as their beloveds have put on the condition that their respective lovers will have the name as Earnest.
Thus in the play, he mocks the institution of marriage which was considered to be sacred in Christianity. For him, this institution is quite hollow. The concept of Bunburyism that meant the practice of a double life also refers to the concept of homosexuality in the play.

As a Satire :-

Satire, in the time and context of the novel The Importance of Being Earnest, refers to a comedic style in which the behaviors and beliefs of a particular social class are made fun of. In The Importance of Being Earnest, Oscar Wilde pokes fun at the upper class by showing them to be fickle, dishonest and snobbish. Let's look at how he does this by considering the various aspects of the Victorian life that he ridicules.

In the Victorian era, people were very focused on how one behaved in public. Both Algernon and Jack make up false identities in order to get away with some of their less than ideal behaviors. Calling cards and formal invites formed a part of everyday social life in those times, and we find mention of these in the play. Algernon even goes as far as to state that Jack's 'carelessness' in not sending him a dinner invitation when he wants to avoid dinner at Lady Bracknell's, is foolish and annoying.

The British at this time considered themselves vastly superior to the French (which is why several novels at the time had villainous French characters). The play pokes fun at the idea of French promiscuity when Jack refers to 'corrupt' French Dramas.

conclusion:-

Though the plot of the play is not thought-provoking yet it contains hidden meanings. Through the mode way comedy, Wilde brings to light the ills of the Victorian era and mocks it. Hence, it is a trivial comedy for serious people  with hypocrisy for status and fame.


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The Rover

    The Rover 

          

1. JOURNAL ARTICLE

The Sexual Politics of Behn's "Rover": After Patriarchy 

Stephen Szilagyi

            Each woman begins the play bound one of the three fates: Florinda to marriage, Hellena to the nunnery, and Angellica Bianca to well-paid prostitution.  Through Carnival, however, these women abandon their prescribed positions with disguises to “be mad as the rest, and take all innocent freedoms,” including to “outwit twenty brothers” . The masquerade serves multiple purposes.  First, disguise equalizes the class distinctions, “and even the difference between the categories available to women” . When lost in the festivities, the ladies join all that “are, or would have you think they’re courtesans,” the most sexually liberated women .  Their initial costumes as gypsies allow them to approach men in a feminized, desirous way.  Gypsies already occupy the role of outcast on the liminal edge of society; by taking on their looks, Florinda and Hellena put themselves and their sexuality outside the confines of cultural expectation.  Their decision implies Behn’s opinion that her peers should seek to escape the restrictions that define them.

Behn’s female characters strive for independence within the limitations of the English system of courtship and marriage. In The Rover, the three leading ladies are all capable and proactive young women who exhibit “the initiative and daring reserved for cavaliers” .  Over the course of the play, each takes upon herself the position of active wooer.  Maidenly Hellena openly vows to do “not as my wise brother imagines but to love and to be beloved” by reeling in a husband .  Her virginal sister, Florinda, and the sexually liberated courtesan, Angellica Bianca, adopt similar goals in pursuit of passion.  They are nothing like the subordinate females of Puritan propriety, but witty, competent matches for the men they meet.  Through their strong personalities, Behn suggests at early British women’s potential to feel and act confidently on sexual feelings, thus “desire” and “ the construction of woman as a self-policing and passive commodity”

2. 

 Aphra Behn's The Rover: Evaluating Women's Social and Sexual Options :-


              The Rover was Performed in 1677, Aphra Behn’s play, The Rover, speaks to this double standard, which limited her female peers’ sexual desires to the realm of convent, brothel, or home. Set loose in the topsy-turvy world of Carnival, her characters demonstrate the active, complicated game required of women seeking to secure personal happiness.  The dangers of the chase and the play’s tidy conclusion, on the other hand, suggest at how ladies neither could nor should stray too far into the masculine roles of wooer and possessor.  Late Stuart society, Behn seems to lament, offered no place to the sexually free, libertine woman.

                 The fall of the Puritan Commonwealth did little to dispel the political and religious tensions that affected the early Modern British conception of womanhood.  Even after the Protectorate’s end, Roundhead beliefs dictated “the necessity for female subordination and obedience” to her husband, as ordained by several Bible verses .  Eve’s role in the division of mankind from God “fuelled conviction of the weakness and sinfulness of women” .   Thus female sexuality was perceived as a spiritual flaw to manage. Male governance of the female body, once responsible for Adam’s downfall, led to a Puritan “masculinization of desire the creation of woman as other and as object—that crucial to a sexual ideology that insists on the indivisibility of feminine chastity from feminine identity” .  By appropriating sexuality, Roundhead men narrowed the confines of women’s acceptable roles in society to one alone: the wife, family-oriented and sexually pure.  Neither Catholic nun nor transgressive prostitute met Puritan expectations for women.

                          Hellena and Angellica also take on the appearances of men during the play.  Such costumes permit them to alter their lovers’ choices and lives.  “Dressed in man’s clothes,” Hellena can punish Willmore for his infidelity with “something do to vex him”.  She interferes in a meeting of Willmore and Angellica by informing the courtesan of “a young English gentleman” who wooed another woman and then “paid his broken vows to you”.  Seeking revenge an act later, Angellica Bianca dons “a masking habit and vizard” and threatens Willmore with a pistol .  Her choice of weapon—guns were used almost exclusively by men during Behn’s time—is “symbolic of her attempt to usurp phallic control” of her own sexual desires .Instead of feminizing her lust, Angellica masculinizes herself.  By masquerading as men, both women demonstrate how ladies may take ownership of rights associated only male Cavaliers, romance, justice, and sexuality.The “obligatory happy ending” of The Rover reveals the unfairness of the libertine system and the demand indeed, the unquestioned assumption that women would fit into the socially set role of prostitute or wife.  Florinda and Hellena’s attempts to challenge their brother’s arrangements are successful; the former marries her lover and the latter escapes a future as “handmaid to lazars and cripples” in the nunnery .  However, their enterprising boldness in chasing men leads them into the same wifely duties of most women.  Their challenge to “the repression of their autonomy and desires” still leads to the hierarchical man-woman relationship of Puritan wedlock .

                                    Angellica’s attempt to unite her sexuality with true love fails.  She is initially immune to “the general disease of [the female] sex…that of being in love” .  She can sleep with whomever she wants and has found a way around Behn’s observation that women need reliable male support.  However, her life lacks the romantic passion of the hedonistic lifestyle.  Moreover, Angellica’s sexual liberation, for which lovers must pay to experience, contributes to her inability to snag Willmore’s long-term affection.  His lust could have been satiated with her portrait since someone else would “have the thousand crowns to give for the original” .  Her relegation back to courtesan shows how transgressive, premarital sex and proper marriage cannot mix.  As a sexual female, Angellica has no place in world when in the throes of libertine love: she can be neither indifferent courtesan nor devoted wife.

                                 The actions and treatment of women in Aphra Behn’s play expose the narrow social limitations within which early Modern British women found themselves. Hellena and Florinda have the potential to explore their sexual freedom at Carnival, but they focus instead on securing financial futures with men they like.  Sex may be used, as Hellena shows, as a bartering chip to obtain a promise of marriage; when loosed for a young woman’s pleasure, however, sexuality keeps her from happiness.  Through Angellica, Hellena, and Florinda, Behn reveals that the libertine female has no place in late Stuart society.  The playwright’s observation comes as a wistful warning at a time when women seemed to push the limits of tradition.  Actresses appearing on stage might feel they had found a career of bodily expression, but from Behn’s experience as a woman with male colleagues, the freedom is a façade.  Women on stage faced fetishization and loss of status.  Behn’s commentary on women’s position in the late Stuart period serves to point out the double standard of libertinism in court life and the public sphere.  By exposing and mocking the Puritanical and Cavalier restraints imposed on ladies, she encourages viewers to reevaluate women’s limited roles in the new age.

                             Whatever professional activity women in the theatre performed – whether playwright or actress - they soon lost their good reputation. It was seen as immoral to be an actress and thus, an actress was always assumed to be a prostitute when she displayed herself on-stage. This meant that women in the theatre were regarded as sexually available and no actress had "effective protection against male advances". In fact, many of the actresses during the Restoration period were actual prostitutes off-stage. In this way, they tried to handle the libertine belief of men that all theatre women were fair game and to retain at least some kind of reputation. If they were not prostitutes, actresses could achieve a good position through sexual patronage.

                              Female playwrights, however, were considered to be intruders on male territory as literature and poetry were exclusively meant for men. Women's writing existed but was rather restricted to writing letters in private. As soon as a woman published her works, she violated a woman's virtue of modesty, i.e. to be passive, quiet and cautious. Modesty was equated with chastity. Thus, women who published literary works were seen to making themselves public and therefore shameless, characteristics which were assumed as leading to eventual sexual excess and promiscuity. Being a female playwright was even worse because drama represented the most public literary genre, which meant that whatever opinion the playwright had it was made known to the public as soon as the play was shown on-stage. Hence, displaying a woman's opinion in public was the highest violation of modesty and therefore it was not worth regarding that woman as being respectable.

                               Aphra Behn's play The Rover subverts the traditional concept of women as the property of men and as being modest and thus, presents a new type of woman - the female rake. The following chapters will show how language manifests sexual domination. The next chapter presents different characters of the play and also looks at the characters' way of speaking and behaving. The third chapter then will examine how those different characters act when they meet. Finally, a conclusion will be drawn as to whether there is a relationship between language and sexual domination.


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Sunday, 24 January 2021

The Rape of the Lock - Alexander pope

Belinda's character :-


                          Belinda is presented by Pope in "The Rape of the Lock" as a bundle of contradictions. This makes her not just a more interesting character, but also a reflection of the society in which she lives. First and foremost, Belinda is a ravishingly beautiful young lady, her beauty a source of wonderment and admiration to men and women alike. Her very name comes from the Latin for "lovely to behold." Pope often describes Belinda in gushing superlatives such as "the brightest fair" and "the fairest of mortals."

                         Belinda is acutely aware of her extraordinary beauty and the equally extraordinary effect it has on people. She is the center of attention wherever she goes, most notably during her pleasure ride down the Thames, her bright smile and eyes shining like the sun:

                     Bright as the sun , her eyes the gazers strike ,
                    And, like the sun , she shines on all alike.

                    Not surprisingly, with all this natural beauty and the attention it brings, Belinda is a rather vain, superficial young lady. She worships at...

                              Belinda, the poetic name of Arabella Fermor, an upper-class English girl. She is a beautiful young woman and vain of her appearance. Although she is a sweet society girl who loves her spaniel and is normally quite agreeable, she flies into a horrid rage when Lord Petre snips off one of her treasured curls.


                                      Pope has presented Belinda as a complex character. He has presented her in different roles and under different shades, some are satirical other ironical but all entertaining. The character of Belinda has created much controversy since the publication of the poem. Some critics consider her treatment fair while others as unfair. There are several aspects of the personality of Belinda as portrayed by Pope in The Rape of the Lock. It will be wrong to regard her purely as a goddess, or as a pretty spoiled child, or as a flirt. She is a combination of all three and yet much more than such a combination. We see her in many different lights. We see her as a vamp, an injured innocent, a sweet charmer, a society belle, a rival of the sun, and a murderer of millions. She has a Cleopatra- like variety. However, the reality lies in between these two extremes we can discuss her character as blow.  

                                  Except being a beauty the faults of Belinda are many. The poet fully reveals to us her petty pleasure-seeking nature. She suffers from all the vanities, laziness, follies and moral scruple of the aristocratic ladies of her time. She is treated as an object of mockery, ridicule, and even condemnation because of her shallowness, superficiality, and lack of any intellectual interest or moral elevation in her life. The lady sleeps till the hour of twelve in the day. Her dog licks her and she gets up every day from her all prophesied purity. Belinda is proud to be secretly in love with the Baron just after opening her eyes; first thought is about love letter which has been addressed to her. Next, she gets ready for her toilet and her day begins at noon. The toilet-table is like a church to her. She takes help of “cosmetic power” and her maid-servant Betty assists her in her sacred ceremony of the toilet. These show her superficial nature and lack moral awareness. 

                            we can say that Belinda’s portrayal is one of the awesome literary creations ever produced in the History of English literature. Pope seeks to throw light uponthe fickle minded fashionable ladies of the 18thcentury England depicting Belinda as the representative character. She is the embodiment of the coquetry, the art, the artifice and the false pride.

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Tuesday, 19 January 2021

Thinking Activity : Absalom and Achitophel

Absalom and Achitophel : 


1. Absalom and Achitophel Quotes and Analysis :-

1)

               These Adam-wits, too fortunately free,

              Began to dream they wanted liberty:

           

                         According to one key for the poem, this passage is "Apparently a reference to those who, like Adam, could not be satisfied with the true freedom under God's law and wrongly yearned for more. To Dryden the English of the late seventies and early eighties who complained of arbitrary government, like their predecessors of the forties, would have been Adam-wits.” This is one example of how skillfully Dryden utilized biblical allusions and how he was able to subtly but compellingly use them to comment on the people and events of his one day. Not all of his phrases are easily accessible to modern readers, but once they are defined, they yield continual revelations as to Dryden's wit and genius.

2)

                "All empire is no more than power in trust."

                                    In this quotation, Dryden explains the nature of authority. Authority is granted to those in power by those who are subject. In other words, those in power only have as much authority as the people will give to them; it's borrowed power. Thus an empire is a large collection of power which is concentrated in the hands of a few but which at any second can be taken back by the people. Another implication here is that empires are temporary establishments because none will last forever, as if they are merely loans.

3) 

             Oh, that my power to saving were confined!

            Why am I forced, like heaven, against my mind,

           To make examples of another kind?

           Must I at length the sword of justice draw?

          Oh curst effects of necessary law!

                          One of the things that makes David's relatively short speech so effective is that he suggests to the people that he has to go against his natural proclivities of tenderness and mildness and take up the literal and metaphorical sword against his enemies in order to protect the throne. Here, he values the power of the throne as far greater than his own, and he says that he must do as it requires. He knows what is required of him and he will do it, but the people must know he is at heart a peaceful man—he simply knows that there are bigger things than his love of his son. David has undergone the shift from "gentle, longsuffering father-king to severe, forceful executor of justice" (Marshall).

2. Political Allegory :- 

                       It is also described as an allegory regarding contemporary political events, and a mock heroic narrative. On the title page, Dryden himself describes it simply as "a poem".

                      The definition of allegory has two senses. The first relates to when an author writes an allegory by design as did Edmund Spenser and John Bunyon. In this sense of allegory the characters are usually given titles rather than names: e.g., the Red Crosse Knight and Mr. Worldy Wiseman. The second sense of allegory depends on the reading given a particular work, passage, sentence, line. In other words, a particular reader may find allegory through his/her reading whereas another reader may not recognize allegory in the same work.

                      Having said this, John Dryden wrote Absalom and Achitophel as a satire to instigate political reform. The era was that during which a faction in England was trying to seat the illegitimate son of Charles II (after the Restoration) on the throne through a rebellion against Charles II. Dryden used a Biblical tale, that of the rebellion of Absalom against King David, in the humor of satire stated with the sweetening leaven of verse to point out the wrongfulness of a rebellion and the disastrous impending outcome of such a rebellion.

                        As you can see from the excerpted quote below, Dryden did not style Absalom and Achitophel as an allegory, as did Spenser and Bunyon, but he was certainly casting then contemporary figures in the role of Biblical heroes and villains. Therefore, an understanding of Absalom and Achitophel as an allegory revolves around the second sense of the definition of allegory, which is that a reading of allegory rests with the reader, literary analyst, literary critic.

3) as a satire :-

                                                                Absalom and Achitophel is a landmark political satire by John Dryden. Dryden marks his satire with a concentrated and convincing poetic style. His satiric verse is majestic, what Pope calls: “The long majestic march and energy divine”.  Critics have unanimously remarked on Dryden’s capacity to transform the trivial into the poetical; personal envy into the fury of imaginative creation. The obscure and the complicated is made clear and simple. All this transforming power is to be seen at the very beginning of Absalom and Achitophel. The state of ‘Israel’ is easy to understand and yet Dryden shows himself a master both of the Horatian and the Juvenalian styles of Satire. He is urbance witty devastating and vigorous, but very seldom petty.

Ab & AC : Basically a Political Satire:

                                                                 Dryden called Absalom and Achitophel ‘a poem’ and not a satire, implying thereby that it had elements other than purely satirical. One cannot, for instance, ignore the obvious epic or heroic touches in it. All the same, the poem originated in the political situation of England at the time and one cannot fail to note that several political personalities are satirised in it. Published in  November 1681, the theme was suggested by the king to Dryden. At this time, the question of succession to King Charles had assumed great importance. The Earl of Shaftesbury had been thrown into prison to face a charge of high treason. There were two contenders for the succession. Firstly, Charles’ brother James, Duke of York, a known Roman Catholic; the second contender was Charles’ illegitimate son, the Protestant Duke of Monmouth. The Whigs supported Monmouth while the Tories supported the cause of James in order to ensure stability in the country. There was great public unrest on account of the uncertainty of succession. King Charles II saw to it that the Exclusion bill brought before Parliament, to exclude the succession of his brother James, could not be pushed through. The earl of Shaftesbury, a highly ambitious man, sought to capitalise on this unrest. He also urged Monmouth to rebel against his father. The King, though fond of his illegitimate son, did not support his succession because that would have been against law. The Earl of Shaftesbury was arrested on a charge of high treason and lost popular support.

 

Dryden’s Aim in Absalom and Achitophel:

                                                                           The aim of Dryden was to support the King and to expose his enemies. Of course, Charles had his own weaknesses; he was extremely fond of women. But Dryden puts a charitable mantel over his sexual sins. He is mild in dealing with his real vices. The king himself did not think unfavourably of his love affairs. Sexual licence was the order of the age and as such, it did not deserve condemnation. Dryden has nothing but praise for the king’s moderation in political matters and his leniency towards rebels. Dryden’s lash falls on the King’s enemies particularly the Earl of Shaftesbury. He was reckless politician without any principles who, “ having tried in vain to seduce Charles to arbitrary government had turned round and now drives down the current”. Dryden dreads the fickleness of the mob and he is not sure to what extremes a crowd can go. However, the king’s strictness and instinct for the rule of law won for him popular support and he was able to determine the succession according to his desire. Dryden’s reference to the godlike David shows his flattery of the King and his belief in the “Theory of the Divine Right of Kings”.

 

Political Satire Cast in Biblical Mould:

                                                                   Dryden chose the well known Biblical story of Absalom revolting against his father David, at the wicked instigation of Achitophel, in order to satirise the contemporary political situation. The choice of a Biblical allegory is not original on dryden’s part, but his general treatment of the subject is beyond comparison, as Courthope points out. But all the while Dryden takes care to see that the political satire in not lost in the confusion of a too intricate Biblical parallelism. The advantage of setting the story in pre-Christian times is obvious as it gave Dryden had at once to praise the King and satirise the King’s opponents. To discredit the opponents he had to emphasise on Monmouth’s illegitimacy; but at the same time he had to see that Charles (who was Monmouth’s father) was not adversely affected by his criticism. He could not openly condone Charles’ loose morals; at the same time, he could not openly criticise it either. With a masterly touch he sets the poem : 


Conclusion :-

                       Dryden is correctly regarded as the most vigorous and polished of English satirists combining refinement with fervour. Dryden is unequalled at debating in rhyme and Absalom and Achitophel displays his power of arguing in verse. It may be said that Absalom and Achitophel has no rival in the field of political satire. Apart from the contemporary interest of the poem and its historical value, it appeal to the modern reader lies in its observations on English character and on the weaknesses of man in general. His generalisations on human nature have a perennial interest. Dryden triumphed over the peculiar difficulties of his chosen theme. He had to give, not abuse or politics,but the poetry of abuse and politics. He had to criticise a son whom the father still liked; he had to make Shaftesbury denounce the King but he had to see to it that the King’s susceptibilities were not wounded. He had to praise without sounding servile and he had to criticise artistically. Dryden achieves all this cleverly and skilfully. Achitophel’s denunciation of the king assumes the shades of a eulogy in Charles’ eyes. Absalom is a misguided instrument in Achitophel’s hands. The poem is certainly a political satire, but it is a blend of dignity with incisive and effective satire.


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Wednesday, 13 January 2021

Victorian age Novelist

1. Charles Dickens:-

        
Name:- Charles Dickens

Also known as:-Charles John Huffam Dickens,Boz

Occupation:-Novelist,Journalist

Born:- 7 February 1812, Portsmouth, England

Died:- 9 June 1870, Rochester, Kent, England
Gender:- Male

Literary period:- Victorian

Genre:-victorian literature

His novels:-

1.Great Expectations

Creator :- Charles Dickens

Published :- 1861
Forms :- Prose

Genre :- Victorian literature

Literary period :- Victorian
         
            A novel by Charles Dickens (1812–1870), which first appeared in All the Year Round in 1860–61, and in book form (three volumes) in 1861.  

2. Oliver Twist:- 

Creator:- Charles Dickens 

Published:- 1838
Full title:- The Parish Boy's Progress
Forms:Prose

Genre:- Victorian literature 

Literary period: Victorian

3. Hard Times:-

Creator:- Charles Dickens 

Published:- 1854
Forms:- prose

Genre:- Victorian literature

Literary period:- Victorian

4. Nicholas Nickleby:-

Creator:- charles Dickens 

Published:- 183 

Full title:- The Life and Adventures of Nicholas Nickleby
Forms:prose

Genre:- Victorian age 

Literary period:- Victorian

2.Thomas Hardy:-

Name:- Thomas Hardy

Occupation:- Novelist,Poet

Born:- 2 June 1840, Stinsford, Dorset, England

Died:-11 January 1928, Dorchester, Dorset, England
Gender:- Male
Literary period:- Victorian

Genre:- Victorian literature
His novels :-

1.Tess of the D'Urbervilles:-

Creator:- Thomas Hardy

Published:- 1891

Full title:- Tess of the d'Urbervilles: A Pure Woman Faithfully Presented
Forms:- Prose

Genre:- Victorian literature

Literary period:- Victorian

2. Jude the Obscure:- 

Creator:- Thomas Hardy

Published:- 1895

Full title:- The Simpletons; Hearts Insurgent

Forms:- Prose

Genre:- Victorian literature

Literary period:- Victorian

3.Far from the Madding Crowd:- 

Creator:- Thomas Hardy

Published:- 1874

Forms:- Prose

Genre:- Victorian literature 

Literary period:- victorian

3.George Eliot:-

Name:- George Eliot

Also known as:- Mary Anne Evans (née), Mary Ann EvansMarian Evans, Marian Evans Lewes,Mary Ann Cross.

Occupation:- Novelist, Journalist

Born:- 22 November 1819, Chilvers Coton, Warwickshire, England

Died:- 22 December 1880, Chelsea, England
Gender:- Female
Literary period:- Victorian

Genre:- Victorian literature 


His Novels:-

1. Mill on the Floss:-
Creator:- George Eliot

Published:- 1860
Forms:prose

Genre:- Victorian literature

Literary period:- victorian

2. Adam Bede:-

Creator:- George Eliot 

Published:- 1859 

Full title:- Adam Bede
Forms:- prose

Genre:- Victorian literature

Literary period:- Victorian

 3. Middlemarch:

Creator:- George Eliot

Published:- 1872 

Full title:- Middlemarch: A Study of Provincial Life

Forms:- prose 

Genre:- Victorian literature

Literary period:- Victorian.

4.Silas Marner:-

Creator:- George Eliot

Published:-1861

Full title:- Silas Marner: The Weaver of Raveloe

Forms:- prose

Genre:- Victorian literature

Literary period:- Victorian

4.Elizabeth Gaskell:-




Name:- Elizabeth Gaskell

Also known as:- Elizabeth Cleghorn Stevenson (née)Elizabeth Cleghorn Gaskell,Mrs Gaskell

Occupation:- Novelist, Journalist

Born:-29 September 1810, Chelsea, London, England

Died:-12 November 1861, Holybourne, Hampshire, England
Gender:- Female

Literary period:- Victorian

Genre:- Victorian literature

His Novels:-

1.North and South:-
Creator:- Elizabeth Gaskell

Published:- 1855

Forms:- Prose
Genre:- Victorian literature

Literary period:- Victorian

2.Mary Barton:-
Creator:- Elizabeth Gaskell

Published:-1848

Full title:- Mary Barton: A Tale of Manchester Life
Forms:- prose

Genre:- Victorian literature

Literary period:- Victorian

5. Robert Louis Stevenson:- 

Name:- Robert Lewis/Louis Balfour Stevenson

Occupation:- Novelist

Born:- 13 November 1850, Edinburgh, Scotland

Died:- 3 December 1894, Vailima, Samoan Islands
Gender:- Male
Literary period:- Victorian

Genre:- Victorian literature

His novels:-

Strange Case of Dr Jekyll and Mr Hyde:- 

Creator::-Robert Louis Stevenson

Published:- 1886
Full title:- *Strange Case of Dr Jekyll and Mr Hyde*
Forms:- Prose

Genre:- Victorian literature

Literary period:- Victorian

6. H G Wells:- 

Name:- H G Wells

Also known as:- Herbert George Wells

Occupation:- Novelist

Born:- 21 July 1886, Bromley, Kent, England

Died:- 13 August 1946, London, England
Gender:- Male

Literary period:- Victorian 
Genre:- Victorian literature 

His Novels:- 

1.The Island of Dr. Moreau:-

Creator:- H G Wells 

Published:- 1896

Forms:- Prose

Genre:- Victorian literature

Literary period:- Victorian

2.The War of the Worlds:-

Creator:- H G Wells

Published:- 1897

Forms:-Prose

Genre:- Victorian literature

Literary period:- Victorian



Saturday, 2 January 2021

Thinking activity: Puritan and Restorations Age

Puritan age:-

                     Puritan age was begun from 1600 and it ends in 1660. The year 1660 is the beginning of the Restoration period. So before the Restoration period there is the thought of Puritanism among the peoples of England and also among other countries.

So the literature of the 17th century divided into two periods:-


                   The 17th century marked as the decline of the Renaissance spirit and the new writers starts imitating the great writer of Elizabethan era and followed the new paths. Now there is no writer remain who write on the basis of their imagination. The age was dominated by the logic and reasoning. The temperament of the writers was totally changed which was called essentially modern.

                 The 17th century from 1600 to 1660 was dominated by Puritanism and it is called the Puritan age. Because Milton was the nobler representative of the Puritan spirit, so the age was also called as Age of Milton (Neoenglish system, 2010).

                This movement is also considered as the second and greater Renaissance in literature. With the rise of this period the moral or intellectual nature of the man was also rose. It was like the rebirth of the morality among the peoples of the society. The Renaissance which already had a marked quality of its high culture, now needed only the moral sobriety and profundity, which were given by the Puritan movement.

                Unscrupulousness and fanaticism in politics and religion were on rampant during the Renaissance period. Therefore the Puritan movement came and it stood for its liberty and introduced the morality and high ideals in politics. Puritan movement had two objectives:-



                    But soon the Puritans began to look down as narrow-mindedness during the Restoration period. They were against all sort of recreations and amusements, in fact in reality they were not so. Puritans are very much religious in their concept, they didn’t form a separate religious sect.

                  Milton and Cromwell are the two real champions of liberty who stood for toleration against the tyrannical rule of Charles I. It would be wrong if we called them narrow-mined fanatics. Means in reality the high standard of morality leads to them to be trapped in their own world and was unable to think beyond it.

                From very first the name Puritans was given to them who advocate the change in the church of the England during the reign of Queen Elizabeth. But many opposed to this movement including the King Charles I, but soon he was defeated and beheaded in 1649 and the Puritan movement came out triumphantly. Therefore in this way the Puritan movement was more called the National movement of England.

               In literature also there was the same confusion as we found in the field of politics and religion. The literary achievements of this period are not of high order and of greatness but still some of its works recognized as the great work of the writers. The Puritan poetry is further divided into three parts:-


1-The School of Spenser


               Edmund Spenser was the leader of the school of Spenser. There were many followers of Spenser. Spenser and Sidney both made the Italian poetry more fashionable during the 16th century. All the writers of the age make Spenser as their master.

             The two brothers Phineas Fletcher and Giles Fletcher are the most thorough disciples of Spenser during the reign of James I. They were both priests.

            Phineas Fletcher wrote number of Spenserian pastorals and allegories. The Purple Island was his most ambitious poem which portrays the detailed allegory of the physical and mental constitution of men, the struggle between Temperance and his foes, the will of man and Satan.

          Giles Fletcher’s Christ’s Victorie and Triumph in Heaven and Earth over and after Death, is the most famous allegorical narrative which was written in Lyrical strain. As Giles was more Lyrical and mystical than his brother Phineas. This work portrays the Temptation, Crucifixion, and Resurrection of Christ.

William Browne, George Wither and William Drummond are the other poets who wrote under the influence of Spenser.


2-The Poets of the Metaphysical School

John Donne, Herrick, Richard Crashaw, Henry Vaugham, Thomas Carew, George Herbet and Lord Herbert are the metaphysical poets. However the leader of this school was John Donne. The poetry of metaphysical poets is full of conceits, exaggerations, quibbling about the meaning of the words, far-fetched similes, metaphors. The metaphysical poets were honest and they were the original thinkers. They were all aware of the life and have concerned with the death.

John Donne wrote poetry of vey high order. The Progress of the soul; An Anatomy of the World, an elegy; and Epithalamion are his best known works. His poetry was divided under three categories:-

Robert Herrick wrote amorous as well as religious verse.

Thomas Carew was the finest lyric writer of his age. He is superior to Herrick in workmanship. ‘Persuasions of Love’ is a fine piece of work of Thomas Carew.

Richard Crashaw had different temperament than Herrick and Carew. He was very religious poet. ‘The Flaming Heart’ is the best work of Richard.

Henry Vaughan was a mystic like poet. He is more uniform and clear, tranquil and deep than Crashaw.

George Herbert is the most widely read poet of his age. He expressed his thoughts in a clear manner than others. There is also Transparency of his conceits.

Lord Herbert of Cherbury is inferior to his brother in writing verse. He is well known for his autobiographies. He was the first poet who use metre.


3-The Cavalier Poet

Ben Johnson was the leader of the Cavalier poets. Johnson followed the classical methods in his writing. He was influenced by the classical writer like Horace, and others. Ben Johnson’s work, lyrics and songs are different from that of Shakespeare.

The term ‘Cavalier’ means royalist but in real all the Cavaliers are not royalist. There is not much difference between the Cavalier and Metaphysical poets, because some Cavaliers like Carew, Suckling and Lovelace were also the disciples of Donne. Even some poems also have same quality of both Donne and Ben Johnson. But the Cavalier poets wrote on trivial subjects, whereas the metaphysical poets wrote only on serious subjects.

Sir John Suckling is the courtier of Charles I and most of his poems are trivial; written in doggerel verse.

Sir Richard Lovelace was another follower of king Charles I. ‘Lucasta’ is his volume of love lyrics. His poems like “To Lucasta” and “To Althea, from Prison” was very famous in English poetry.

John Milton

Milton was the greatest port of the Puritan age. He was identified as Puritanism. Milton was different from all the poets of his age. Milton was a deeply religious man and was endowed with the artistic merit of high degree. Milton was a great scholar. He was not only the scholar of classics but of Hebrew literature also. He was a great humanist.

The most significant early works of Milton are- The Hymn on the Nativity, Lycidas, Comus.

Lycidas is an elegy written in the country’s churchyard on the death of Milton’s friend.


Conclusion :-


Therefore we can say that during this period English literature developing into a grand iloquent and rich instrument. And it is also capable of expressing the great ideas, scientific, philosophical, religious, poetic and personal.

• The Era of Puritanism (1564-1660): Literary Works

January 05, 2015

The reign of the Puritans also produce a large amount of literature (poetry, prose), but drama could not thrive because it is prohibited by the authorities. Drama regarded as a nest of immorality by the Puritan authorities. It is just so different with Elizabeth period where drama produces a lot of outstanding works. So we can see that the literary works of Puritan period are just different from Elizabeth period. In period of Puritan literature, there are three groups of poems; metaphysical, cavalier and Puritan. Here are the complete version of the era of Puritanism (1564-1660): Literary Works.

Poetry

We can find poems in this period are way too different from the previous one. We may even call the literary in this period as the depression kind of expression. If in Elizabethan period we know some greatest poets like Edmund Spenser, Philip Sidney, George Chapman and Thomas Sackville who each of them expressing their emotions through their works. The emotions here are like the real emotion which a human possessed. Unlike this period, we can find three new kinds of poems which are different with any poem in previous periods. The characteristic of a poem in this period includes a thing, like geometrical, not human being, as the comparison material. This kind of poem can be classified into metaphysical poetry.

Metaphysical Poetry

The term was first used by Dr. Samuel Johnson (1709-1786), a famous writer of the 18th century. Metaphysical poetry prefers intellect rather than emotions, so there are a lot of scientific terms in the poem. There are plenty of prominent metaphysical poets in this period, like John Donne (1572-1631), George Herbert (1539-1633), Edmund Waller (1606-1678), Sir John Suckling (1609-1642), Andrew Marvell (1621-1678), and Henry Vaughan (1621-1695).


Metaphysical poetry has the following characteristics:

1. The poems are always in short version, have solid meanings and very economical in the use of words (concentration).

2. The use of unusual imagination (imaginary or unusual conceit).

3. The use of harsh language and rude (often very strong and rough language).

4. The use of science terms (science and learning).

5. The theme revolves around human nature ambiguous (man's dual nature): physical and spiritual.


John Donne (1572-1631)

He is the first poet of metaphysical poetry who was born and raised in a strong Catholic tradition. He studied in Trinity College, Cambridge and then became a Lincoln’s Inn’s member. He was popular for his lifestyle: read a lot but living lavishly. As a metaphysical poet, he used unusual imaginary and he doesn’t use conventional comparisons, rather uses fantastic metaphors and excessive hyperboles. The Sun Rising, The Good Morrow, Love’s Alchemy, and A Valediction: Forbidding Mourning are some his phenomenal works. As for the latter poem, Donne said that his idea was still telling about a couple, even when one of them is separated. He is so popular in making a lot of poems about love. Here is the uniqueness comparison which he used in one of his metaphysical poems:


Our two souls therefore, which are one

Through I must go, endure not yet

A breach, but an expansion

Like gold to airy thinness beat


If they be two, they two so

As stiff twin compasses are two,

Thy soul the fix foot, makes no show

To move, but death, if th’ other do.


And thought it in the centre sit,

Yet when the other far death ream,

It leans, and hearkens after it,

And grows erect as that comes home.


Such wilt how to be me, who must

Like th’ other foot, obliquely run;

Thy firmness makes my circles just,

And makes me end, where I begun.


We can see that the first stanza states that two souls have become one, then even if one had to go, it will not lead to a split, rather becomes widespread as gold which hammered into as thin as air.For the second stanza, it states that if they become two souls, those souls are like a pair of rigid compasses. The compass’ soul that became permanent leg shows no sign of move, but the legs would move, if the other leg moves.

Fun Facts:

There are also some poets who made religious poems, such as George Herbert, Henry Vaughan, and Abraham Cowley. Here is one of George’s religious poems.


The Pulley (or Rest, or The Gifts of God)


When God at first made man,

Having a glass of blessing standing by,

“Let us,” said He, “pour on him all we can:

Let the world’s riches, which dispersed lie,

Contract into a span”,


So strength first made way;

Then Beauty flowed; then Wisdom; Honour, Pleasure.

When almost all was out, God made a stay,

Perceiving that alone, of all His treasure,

Rest in the bottom lay.

“For if I should,” said He,

“Bestow this jewel also in my creature,

He would adore my gifts instead of me,

And rest in Nature, not the God of Nature;

So both should loser be.


“Yet let him keep the rest,

But keep them with repining restlessness;

Let him be rich and weary, that at least,

If goodness let him not, yet weariness

May toss him to my breast”.



First stanza: When God created the first man, he provided a glass of blessing. God says: I will pour all my power and wealth of the world that had been scattered, so that becomes one (in humans).


Second stanza: And came in the strength, beauty, wisdom, honor, pleasure. When everything is running out, God stopped him because he realizes the language of all his wealth, is safely kept at the bottom (bottom).


Cavalier Poetry


The poets of this kind of poetry are the most loyal followers of King Charles I. They have high-spirited souls which are different with those metaphysical poets. They really love secularism things and not really a fan of religious thing. They imitate a popular motto from Italy, Carpe Diem which means “Catch the Day” or in our current motto, it is like You Only Live Once, so be happy and do whatever you want to do. Make pleasure while you are still alive, because tomorrow you may be dead. Some prominent poets are like Robert Herrick (1591-1674) with some of his works; To the Virgins to Make Much of Time, To Enjoy the Time, and To Daffodils, Thomas Carew (1595-1639) with some of his works; To His Mistress in Absence, and Richard Levelace (1618-1658) with his poems To Althea from Prison. This is one of Cavalier poems, To the Virgins to Make Much of Time from Herrick.


Gather ye rosebuds while you may

Old Time is still a-flying;

And this same flower that smiles today

Tomorrow will be dying.


The glorious lamp of heaven, the sun

The higher he is a-getting,

The sooner will his race be run,

And nearer he is to setting.


That age is best which is the first,

When youth and blood are warmer;

But being spent, the worse and worst

Times still succeed the former.


Then be not cuy, but use your time,

And while ye may, go marry;

For, having lost but once your prime,

You may forever tarry.


First stanza: Gather flowers while you can, because time flies. Flowers that glow today will wither tomorrow morning.


Second stanza: The sun shines like bright lights of heaven. The higher the sun, the closer it will be drowned.


 • Restoration period


The Restoration in England began in 1660 just after the age of Puritans and last long till 1700 (wikipedia, the free encyclopedia, 2017). It took place during the Stuart period, when all the monarchies of English, Scottish and Irish were restored under the Stuart king Charles II. The term Restoration used  to describe the restoration of the monarchy and also the period, when new political settlement was established. In the reign of Charles II, the entire age of Restoration is covered and also half in the reign of his younger brother James II.

Richard Cromwell

Richard Cromwell was unable to proceeds his father’s policies, so English Restoration was not continued. He was the son of Oliver Cromwell. The main weakness of Richard was that he did not have the confidence of the army. The Wallington House party removed him from their group and reinstalled the Rump Parliament. And the commandment was given to Charles Fleetwood.


Charles II hoped that with Spanish support he can wins the battlefield but he was defeated by General Lambert. Lambert was become the major General of all the forces in England and Scotland and Fleetwood being general.


Lambert went with large force to meet George Monck, who was the commander of English forces in Scotland. Into this atmosphere Monk was marched south with his army from Scotland under the Cromwell, but soon Lambert’s army desert him and he returned to London almost alone.

Lambert was sent to the Tower of London, on 3 March 1660, but he escaped from there in month. He was recaptured by Colonel Richard Ingoldsby. Lambert was incarcerated and died in custody on Guernsey in 1694.

Charles II

Charles II made several promises in the Declaration of Breda in relation to the reclamation of the crown of England, on 4 April 1660. It was proclaimed that king Charles II was the lawful monarch since the execution of Charles I. Charles leaves the Hague and returned from exile on 23 May and entered London on 29 May 1660. So therefore to celebrate the return of his majesty, 29 May was made a public Holiday. This day was popularly known as Oak Apple Day. Charles II was crowned at Westminster Abbey at 23 April 1661.

Because of the sudden and unexpected change, some contemporaries called Restoration as a “divinely ordained miracle” or the Restoration of the divinely order. The Cavalier Parliament was established on 25 April and it was also known as Pensionary Parliament because it provides pensions to the adherents for many years. Like its predecessor, it was very much royalist. Edward Hyde was the leading political figure at the beginning of the Restoration. He was the first Earl of Clarendon.

Conclusion

The Glorious Revolution ended the Restoration. The Glorious Revolution which overthrew King James ll of England was propelled by a union of English Parliamentarians with the Dutch stadtholder. 

William III was also known as Prince of orange. He organize a meeting to handle the current situation of England in a Convention Parliament. The Parliament members decide that to fill the vacancy of throne James’s daughter Mary has to rule jointly with her husband William. The Bill of rights was passed by English Parliament in 1689 that denounced James for abusing his power. There is also srict order was passed against the Roman Catholics. No Roman Catholics has rights to ascend the English throne and nor any English monarch permitted to marry a Roman Catholic.

Hence it was an end of the Restoration period with the Glorious victory of William III.

• Restoration period literary works :-

Poetry

The Restoration was an age of poetry. Not only was poetry the most popular form of literature, but it was also the most significant form of literature, as poems affected political events and immediately reflected the times. It was, to its own people, an age dominated only by the king, and not by any single genius. Throughout the period, the lyric, ariel, historical, and epic poem were being developed.
 
Prose

Prose in the Restoration period is dominated by Christian religious writing, but the Restoration also saw the beginnings of two genres that would dominate later periods: fiction and journalism. Religious writing often strayed into political and economic writing, just as political and economic writing implied or directly addressed religion.
 
Theatre

The return of the stage-struck Charles II to power in 1660 was a major event in English theatre history. As soon as the previous Puritan regime’s ban on public stage representations was lifted, the drama recreated itself quickly and abundantly. Two theatre companies, the King’s and the Duke’s Company, were established in London, with two luxurious playhouses built to designs by Christopher Wren and fitted with moveable scenery and thunder and lightning machines.
Traditionally, Restoration plays have been studied by genre rather than chronology, more or less as if they were all contemporary, but scholars today insist on the rapid evolvement of drama in the period and on the importance of social and political factors affecting it. (Unless otherwise indicated, the account below is based on Hume’s influential Development of English Drama in the Late Seventeenth Century, 1976.) The influence of theatre company competition and playhouse economics is also acknowledged, as is the significance of the appearance of the first professional actresses.

Literary characteristics of puritan Age

Genres

2. Reatoration age


Restoration Literature Characteristics

Comedy of Manners

  • The Comedy of Manners is a theatrical genre that was uber-popular during the Restoration period. These comedies were bawdy and dirty, with lots of hilarious (and scandalous) dialogue focusing on sex. Their plot lines revolved around unfaithful wives, cuckolded husbands, and tricky lovers.

    These comedies made fun of people… and sometimes entire social classes. Everyone is made to look ridiculous in these plays. People are stupid and gullible, or else they're amoral and exploitative. But it was all done in the name of fun. Audiences went to these plays during the Restoration period to laugh their heads off

  • Satire

    The Restoration writers couldn't get enough satire. What's the deal with satire? Satire is when we joke or exaggerate in order to point up someone else's flaws. Think John Oliver's Last Week Tonight. Think The Onion. Think generally snarky hilarity.

    The Restoration writers developed satire as a genre and a style of writing. These authors loved picking on people—literary rivals, religious figures, even entire social classes—and showing just how ridiculous they all were. Restoration writers mastered the art of poking fun at people.

    Heroic Couplet

  • A heroic couplet is two lines of verse (in ten syllables each), which rhyme. It does not, however, contrary to popular belief, rescue puppies from burning buildings, help old ladies across streets, or untie damsels in distress from railroad tracks.

  • History time: The Heroic Couplet in English literature was pioneered by Geoffrey Chaucer in the Middle Ages, but it wasn't until the Restoration came along that the use of this structure in English poetry became widespread. And that was thanks to one man: John Dryden. Dryden was so good at coming up with Heroic Couplets, he singlehandedly helped make them an essential part of English poetry. He's the hero of the Heroic Couplet.

Social Life

The Restoration writers weren't interested in silly things like nature (ew, dirt), or grand philosophical questions (ugh, boring). They were interested in all the drama that went on in the society in which they lived. Social behavior and social manners, then, are big themes in Restoration literature.

The writers of this period were obsessed with social life: who people fall in love with, who they want to marry, who they sleep with, who they betray, and how much money they have or don't have. It's a literature that focuses on the intrigue that takes place in drawing rooms, in salons, and in—bow chicka bow bow—bedrooms.

Politics

The "Restoration" in Restoration literature comes from a political event (the restoration of monarchy in Britain in 1660) so it's no huge surprise that politics, and political themes, are kind of a big deal in this literary movement.

Restoration literature raises big ol' political questions like: What type of government is best for society? What role does government, or monarchy, play in people's lives? What kind of allegiance do we owe to our government? How does politics shape culture? The Restoration period was a time when Britain was seriously re-thinking its political identity. And we'll find that the Restoration writers were also thinking pretty hard about politics in their writing.

Pepys's Diary

Pepys began life in a small way as a clerk in a government office, but soon rose by his diligence and industry to be Secretary of the Admiralty. Here he was brought into contact with every grade of society, from the king's ministers to the poor sailors of the fleet. Being inquisitive as a blue jay, he investigated the rumors and gossip of the court, as well as the small affairs of his neighbors, and wrote them all down in his diary with evident interest. But because he chattered most freely, and told his little book a great many secrets which it were not well for the world to know, he concealed everything in shorthand,--and here again he was like the blue jay, which carries off and hides every bright trinket it discovers. The Diary covers the years from 1660 to 1669, and gossips about everything, from his own position and duties at the office, his dress and kitchen and cook and children, to the great political intrigues of office and the scandals of high society. No other such minute-picture of the daily life of an age has been written. Yet for a century and a half it remained entirely unknown, and not until 1825 was Pepys's shorthand deciphered and published. Since then it has been widely read, and is still one of the most interesting examples of diary writing that we possess. Following are a few extracts,[181] covering only a few days in April, 1663, from which one may infer the minute and interesting character of the work that this clerk, politician, president of the Royal Society, and general busybody wrote to please himself

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यूनिट-२ : पठन और कथन कौशल्य आधारित प्रवृत्तियां |

यूनिट-२(२.१) हिंदी साहित्यि के दो उत्तम काव्य का पठन करें । हिंदी देश के निवासी हिंदी देश के निवासी सभी जन एक हम, रंग रूप वेश भा...