2) What is so special about 'In Memory of W B Yeats'?
Saturday, 29 May 2021
W.H.Auden's Poems
Wednesday, 26 May 2021
On Being Asked for War Poem by W.B.Yeats
W.B.Yeats poems 'The Second Coming by W.B.Yeats
This line is very much lucid. Without communication, nothing is possible. Even an aeroplane can’t fly in the air without communication and a time comes when it loses control. One can’t hold multiple items at the same time. Letting go may also become a wise decision but if one can’t compromise and insists to hold more than one things at one time, things may scatter. That’s what the poet wants to say. In a spiral, we see things come closer to each other and rotate in the centre but eventually, a time comes when even the centre can’t hold them and they scatter.
A similar example of it is Tornado. We see it grabbing things in its centre but ultimately when it ends, everything scatters without any order. Spiral whether it is a tornado or of water when it ends, it throws things, which are in there, in various random directions. The world in which we are living also suffers from same type of chaos. Nevertheless, the main reason due to which things scatter and the centre can’t hold is lack of communication. We can’t understand each other because we can’t talk and ultimately due to misconceptions, we develop hate instead of love in our hearts, which causes dissipate.
Thank You...
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Monday, 17 May 2021
Bob Dylan and Robert Frost
- “Nashville Skyline”
- “Blood on the Tracks”
- “John Wesley Harding”
- “Desire”
- “The Basement Tapes”
- “Another Side of Bob Dylan”
- “Before the Flood”
- “Blonde On Blonde”
- “Time Out of Mind”
- “The Freewheelin’ Bob Dylan”.
- “The Road Not Taken”
- “The Death of the Hired Man”
- “Stopping by Woods on a Snowy Evening”
- “Mending Wall”
- “After Apple-Picking”
- “A Boy’s Will”
- “Storm Fear”
- “Mountain Interval”
- “North of Boston”
- “New Hampshire”
Sunday, 16 May 2021
SR: Breath: Interpretation Challenge & Shooting a Video
Interpretation of Breath play: Samuel Beckett
Wednesday, 12 May 2021
For Whom The Bell Tolls
In this blog I am going to write about two novels by Ernest Hemingway, For Whom the Bell Tolls and The Old Man and The Sea.The American author Ernest Hemingway was one of the most influential writers of the twentieth century. His machine-like style was precise and austere, but he also had a deft and gentle turn of phrase which gave his work its own peculiar beauty and power. He was a master of the action genre, but he also wrote passionately about love and life, war and work. Though Hemingway is often seen as the archetypal American writer, many of his books have a European air. Hemingway certainly experienced Europe – he drove ambulances in Italy in the First World War, worked as a journalist in the Spanish Civil War, and lived alongside other modernist artists and writers in Paris in the 1920s – and his love for these countries, especially Spain, and their culture permeates his work.
For Hemingway, point of view is important. ‘For Whom Bell Tolls’ presents the narrative through an omniscient point of view that continually shifts back and forth between the characters. In this way, Hemingway can effectively chronicle the effect of the war on the men and women involved. The narrator shifts from Anselmo’s struggles in the snow during his watch to Pilar’s story about Pablo’s execution of Fascists and El Sordo’s lonely death to help readers more clearly visualize their experiences
The point of view used in Ernest Hemingway’s The Old Man And The Sea is omniscient third person as the narrator is able to tell what and how the main characters think. In this way, a reader may obtain more subjective view from the narrator. As mentioned in the summary (click here to read), the old man is the main character of the story. The distance between the narrator and the old man helps create the solitude felt by the latter. What is more noteworthy is that though the old man is called Santiago, this Christian name appears only four times throughout the story.
The reason for the narrator to call him constantly the old man has probably something to do with his dignity. On three occasions, the name Santiago is said to be called by the boy Manolin. On the first two occasions, the boy attempts to persuade the old man to take him to the adventurous sail. For the third time, his name appeared when he is fighting alone with the marlin. His left hand is injured after the battle. The sun is soon set, and he tried to give solace to himself while recalling the moment he had beaten a man in arm wrestling. Then comes the comment of the narrator:
Physical appearances often give us an immediate clue to "what lies beneath" in this book. When we meet Pablo, for example, we learn from the description that he's grizzled, scarred, a bit oddly shaped, with close-set narrow eyes, and has a somewhat hostile look on his face. A shady, unpleasant character.
Pilar is monumentally large, strong and thick, with a warm brown face that looks like a "model for a granite monument." Her looks reflect her courage, strength, good humor, and larger-than life vitality.
Robert Jordan has a physique which suits his restraint, his toughness, and his weathering by the war: he's tall, lean and muscular – presumably rather chiseled – with rough, sun-streaked hair and skin burnt by the sun and wind. Plus those sharpened, clear eyes.
Maria's eyes, on the other hand, are "hungry, young, and wanting." A head of cropped hair, which people seem to agree mars her beauty, testifies to the horrible events of her past which still haunts her.
Speech and Dialogue
"That we blow up an obscene bridge and then have to obscenely well obscenity ourselves off out of these mountains?" (3: 127) Thanks for that, Agustín – can we even call that a sentence? There are several potty-mouths in For Whom the Bell Tolls, and a lot of interesting cusses, though Hemingway never writes them out: he always replaces them with "obscenity" or "unnameable" or whatnot (a few times, he does let very foul words in untranslated Spanish).
Swearing is one of the major ways in which characters are given color, and personality. It defines Pilar and Agustín, and the more cynical way Robert Jordan swears also contrasts him with his more exuberantly obscene Spanish friends. Love of cursing in general is meant to be characteristically Spanish.
Hemingway also lends that "Spanish-ness" to his characters' language by using really awkward straight translations into English: lots of thee's and thou's, and words which mean something different in normal English than Spanish (for example, "molest," which means bother in Spanish and is a much more everyday word). Every so often, a character will also break into a regional dialect, as Anselmo does when he curses Pablo out at the very beginning of the book.
Action
If somebody steals your detonators and runs away with them, thereby screwing your mission over and dooming you and your friends to die, chances are he's a jerk. If, even after he returns, he kills the people he's recruited to help him, he's still a jerk, though he's a jerk on your side.
The actions of characters in For Whom the Bell Tolls reveal a lot about them. As it's a war novel, the most common traits revealed by action are bravery and brutality: Pilar's bravery is evident from her standing up to Pablo and willingness to go ahead with the mission, as well as her military performance, while Pablo's brutality is shockingly clear from her story about the fascist massacre in their town. Resolve is another big one: Anselmo's the guy who stays put in the snowstorm, even when it gets really bad, because he doesn't want to disobey Robert Jordan. If you want courtesy, think of El Sordo's bringing a bottle of whiskey specially for Robert Jordan from La Granja, this in the middle of a war.
The Old Man and and The Sea
Personification
With the old man being alone on the sea and all, a lot of characterization of animals is done, not of people. And a great tool for such characterization is the use of personification. The old man talks about jellyfish, turtles, birds, and, most important, the marlin, as if they were people. He gives them thought processes, even personalities. And all of his comments on the animals tell us more about him, which counts as a characterization tool in its own right, which is kind of nifty.
Direct Characterization
Hemingway doesn’t beat around the bush. How do we know the old man is proud? Because he says that the old man suffered "no loss of true pride." How do we know Manolin loves Santiago? Because he says "the boy loved him."
Physical Characterization
We get some pretty intense descriptions of the old man’s gaunt, emaciated body. Hemingway never lets us forget the one key fact that this guy is old and not in top-notch fish-fighting condition. That, of course, makes him that much more impressive for winning the battle against the marlin. So, oddly enough, the description of the old man’s physical shortcomings serves to highlight his strengths.
Speech and Dialogue
Yes, the old man talks to himself. No, he isn’t crazy. And in case you don’t believe us, he tells you that himself. He just doesn’t have a radio or a newspaper or an iPhone, so he finds companionship in himself and in the creatures around him. This reminds us that the old man is "strange," in the sense of "alienated," and that he is forced to do his battle in isolation from others.
His Point of View
For Whom the Bell Tolls
The narrative is written in a detached, journalistic style that focuses on what the characters can see, hear, or smell. This description is often restricted to what Robert Jordan can see or hear. On a few occasions, most notably when introducing Pablo confiding to his horse and introducing Karkov’s rescue of Andrés and Gomez in prison, the narrator comments on the unfolding action.
The Old Man and The Sea:
Sometimes the narrator describes the characters and events objectively, that is, as they would appear to an outside observer. However, the narrator frequently provides details about Santiago’s inner thoughts and dreams.
Thank you...
Transcendentalism
The transcendentalism movement arose as a result of a reaction to Unitarianism as well as the Age of Reason. Both centered on reason as the main source of knowledge, but transcendentalists rejected that notion. Some of the transcendentalist beliefs are:
- Humans are inherently good
- Society and its institutions such as organized religion and politics are corrupting. Instead of being part of them, humans should strive to be independent and self-reliant
- Spirituality should come from the self, not organized religion
- Insight and experience are more important than logic
- Nature is beautiful, should be deeply appreciated, and shouldn’t be altered by humans
The transcendentalist movement encompassed many beliefs, but these all fit into their three main values of individualism, idealism, and the divinity of nature.
Individualism
Perhaps the most important transcendentalist value was the importance of the individual. They saw the individual as pure, and they believed that society and its institutions corrupted this purity. Transcendentalists highly valued the concept of thinking for oneself and believed people were best when they were independent and could think for themselves. Only then could individuals come together and form ideal communities.
Idealism
The focus on idealism comes from Romanticism, a slightly earlier movement. Instead of valuing logic and learned knowledge as many educated people at the time did, transcendentalists placed great importance on imagination, intuition and creativity. They saw the values of the Age of Reason as controlling and confining, and they wanted to bring back a more “ideal” and enjoyable way of living.
Divinity of Nature
Transcendentalists didn’t believe in organized religion, but they were very spiritual. Instead of believing in the divinity of religious figures, they saw nature as sacred and divine. They believed it was crucial for humans to have a close relationship with nature, the same way religious leaders preach about the importance of having a close relationship with God. Transcendentalists saw nature as perfect as it was; humans shouldn’t try to change or improve it.
Having explored transcendentalist trends in the poetry of Emerson and Pramod Pawar, it is evident that there is indeed a meeting point in the realm of American and Indian poetry. Although transcendentalism is a purely 19th century American literary movement, its tenets are very glaring in the 21st century publication by an Indian poet (Pramod Pawar) in his poetry entitled Ubiquity. Published in Africa by Nyaa Publishers further portrays the universality of transcendentalism as a literary movement and also the relevance of Ubiquityin the African literary and sociological context. The celebration of nature, the central place of religion in the transcendentalists’ thought, and the unflinching passion for independence are the tenets of transcendentalism that have been examined in the poems of both authors under study. It is the hope of this researcher that this paper will not only prompt more research on the works of an emerging Indian writer in the person of Pramod Pawar Ambadasrao, but will also draw the attention of literary critics across the world to the beauty of Indian and American Poetry.
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Sunday, 9 May 2021
Existentialism: Flipped Learning
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