Dryden's Essay on dramatic poesy

• Introduction:-

         “An Essay of Dramatic Poesy” was probably written in 1666 during the closure of the London theaters due to plague. It can be read as a general defense of drama as a legitimate art form—taking up where Sir Philip Sidney's “Defence of Poesie” left off—as well as Dryden's own defense of his literary practices.

•     About Dryden:- 

              John Dryden was an English poet, literary critic, translator, and playwright who was made England's first Poet Laureate in 1668. He is seen as dominating the literary life of Restoration England to such a point that the period came to be known in literary circles as the Age of Dryden.

        It was that memorable day, in the first Summer of the late War, when our Navy engaged the Dutch: a day wherein the two most mighty and best appointed Fleets which any age had ever seen, disputed the command of the greater half of the Globe, the commerce of Nations, and the riches of the Universe. While these vast floating bodies, on either side, moved against each other in parallel lines, and our Country men, under the happy conduct of his Royal Highness, went breaking, by little and little, into the line of the Enemies; the noise of the Cannon from both Navies reached our ears about the City: so that all men, being alarmed with it, and in a dreadful suspense of the event, which we knew was then deciding, every one went following the sound as his fancy led him; and leaving the Town almost empty, some took towards the Park, some cross the River, others down it; all seeking the noise in the depth of silence.
        Indignor quidquam reprehendi, non quia crassé

Compositum, illepidève putetur, sed quia nuper
[I bristle when something is condemned, not because
it is badly or obscurely written, but just because it is new—ed.].
          ms to me a little forced; for being an Usurer, which implies a lover of Money to the highest degree of covetousness, (and such the Poet has represented him) the account he gives for the sudden change is, that he has been duped by the wild young fellow, which in reason might render him more wary another time, and make him punish himself with harder fare and courser clothes to get it up again: but that he should look upon it as a judgment, and so repent, we may expect to hear of in a Sermon, but I should never endure it in a Play.
“I pass by this; neither will I insist upon the care they take, that no person after his first entrance shall ever appear, but the business which brings him upon the Stage shall be evident: which, if observed, must needs render all the events in the Play more natural; for there you see the probability of every accident, in the cause that produced it; and that which appears chance in the Play, will seem so reasonable to you, that you will there find it almost necessary; so that in the exits of their Actors you have a clear account of their purpose and design in the next entrance: (though, if the Scene be well wrought, the event will commonly deceive you) for there is nothing so absurd, says Corneille, as for an Actor to leave the Stage, only because he has no more to say.
  Conclusion:-     
                         Neander was pursuing this Discourse so eagerly, that Eugenius had called to him twice or thrice ere he took notice that the Barge stood still, and that they were at the foot of Somerset-Stairs, where they had appointed it to land. The company were all sorry to separate so soon, though a great part of the evening was already spent; and stood a while looking back upon the water, which the Moon-beams played upon, and made it appear like floating quick-silver: at last they went up through a crowd of French people who were merrily dancing in the open air, and nothing concerned for the noise of Guns which had alarmed the Town that afternoon. Walking thence together to the Piazze they parted there; Eugenius and Lysideius to some pleasant appointment they had made, and Crites and Neander to their several Lodgings...

Online discussion Mario Vargas Llosa's Interview

• Introduction:-

         Mario Vargas Llosa the Peruvian novelist, was awarded the nobal prize for literature in 2010. His most recent novel is The Neighbourhood. He was interviewed for the wordpost by Michael Skafidas, a journalist and professor of comparative literature at the city University of new York.


His quote:-

      No matter how ephemeral it is, a novel is something, while despair is nothing.

If you are killed because you are a writer, that's the maximum expression of respect, you know.

Prosperity or egalitarianism - you have to choose. I favor freedom - you never achieve real equality anyway: you simply sacrifice prosperity for an illusion.

We would be worse than we are without the good books we have read, more conformist, not as restless, more submissive, and the critical spirit, the engine of progress, would not even exist. Like writing, reading is a protest against the insufficiencies of life. When we look in fiction for what is missing in life, we are saying, with no need to say it or even to know it, that life as it is does not satisfy our thirst for the absolute – the foundation of the human condition – and should be better. We invent fictions in order to live somehow the many lives we would like to lead when we barely have one at our disposal

            

• The power of idea :- Young people today tend to think that images can form modern creative citizens. They don’t. Images create a passive citizen, more easily domesticated than the citizen formed by ideas

• History and literature are faces of a coin. They are so close, and in many cases, the literary version of a historical part prevails over a historian’s account.

Aristotle's poetics

• Introduction:-

's Poetics seeks to address the different kinds of poetry, the structure of a good poem, and the division of a poem into its component parts. He defines poetry as a 'medium of imitation' that seeks to represent or duplicate life through character, emotion, or action. Aristotle defines poetry very broadly, including epic poetry, tragedy, comedy, dithyrambic poetry, and even some kinds of music.

According to Aristotle, tragedy came from the efforts of poets to present men as 'nobler,' or 'better' than they are in real life. Comedy, on the other hand, shows a 'lower type' of person, and reveals humans to be worse than they are in average. Epic poetry, on the other hand, imitates 'noble' men like tragedy, but only has one type of meter - unlike tragedy, which can have several - and is narrative in form.

Aristotle lays out six elements of tragedy: plot, character, diction, thought, spectacle, and song. Plot is 'the soul' of tragedy, because action is paramount to the significance of a drama, and all other elements are subsidiary. A plot must have a beginning, middle, and end; it must also be universal in significance, have a determinate structure, and maintain a unity of theme and purpose.

Plot also must contain elements of astonishment, reversal (peripeteia), recognition, and suffering. Reversal is an ironic twist or change by which the main action of the story comes full-circle. Recognition, meanwhile, is the change from ignorance to knowledge, usually involving people coming to understand one another's true identities. Suffering is a destructive or painful action, which is often the result of a reversal or recognition. All three elements coalesce to create "catharsis," which is the engenderment of fear and pity in the audience: pity for the tragic hero's plight, and fear that his fate might befall us.

When it comes to character, a poet should aim for four things. First, the hero must be 'good,' and thus manifest moral purpose in his speech. Second, the hero must have propriety, or 'manly valor.' Thirdly, the hero must be 'true to life.' And finally, the hero must be consistent.

Tragedy and Epic poetry fall into the same categories: simple, complex (driven by reversal and recognition), ethical (moral) or pathetic (passion). There are a few differences between tragedy and epic, however. First, an epic poem does not use song or spectacle to achieve its cathartic effect. Second, epics often cannot be presented at a single sitting, whereas tragedies are usually able to be seen in a single viewing. Finally, the 'heroic measure' of epic poetry is hexameter, where tragedy often uses other forms of meter to achieve the rhythms of different characters' speech.

Aristotle also lays out the elements of successful imitation. The poet must imitate either things as they are, things as they are thought to be, or things as they ought to be. The poet must also imitate in action and language (preferably metaphors or contemporary words). Errors come when the poet imitates incorrectly - and thus destroys the essence of the poem - or when the poet accidentally makes an error (a factual error, for instance). Aristotle does not believe that factual errors sabotage the entire work; errors that limit or compromise the unity of a given work, however, are much more consequential.

Aristotle concludes by tackling the question of whether the epic or tragic form is 'higher.' Most critics of his time argued that tragedy was for an inferior audience that required the gesture of performers, while epic poetry was for a 'cultivated audience' which could filter a narrative form through their own imaginations. In reply, Aristotle notes that epic recitation can be marred by overdone gesticulation in the same way as a tragedy; moreover, tragedy, like poetry, can produce its effect without action - its power is in the mere reading. Aristotle argues that tragedy is, in fact, superior to epic, because it has all the epic elements as well as spectacle and music to provide an indulgent pleasure for the audience. Tragedy, then, despite the arguments of other critics, is the higher art for Aristotle.

             

Doctor faustus

• Introduction:-

      Christopher Marlowe, also known as Kit Marlowe, was an English playwright, poet and translator of the Elizabethan era. Marlowe was the foremost Elizabethan tragedian of his day.

              The picture given below signifies that Evil powers got what they want. Lucifer is standing at the middle of the stage and his wings are wide open as if he won the battle over a superpower and if we relate it with god, he actually won the battle over Gods powers. Dr.Faustus died and now he will perpetually burn in fires of hell. As Mephistopheles said; earlier in the play that, Lucifer wants to enlarge his army of souls. so now Dr.Faustus is dead and now his soul is under the rule of Lucifer , the expression on his face are mixed of satisfaction and victory.

       

• 

This image about the Greek mythological characters. The father Deadalus and his son Icarus. They were in prison. Icarus wanted to fly so his father made waxen wings. But he strictly warned him to not to go beyond limit because these wings made with wax. If he will fly near the sun it will melted and may fall down. But when they were flying Icarus didn't listen to his father's warning and reached at the sun and his wings melted and fall down. So we can compare Dr.Faustus' life with this image. Dr.Faustus wants to become more knowledgable person. So he chooses a wrong path for knowing about knowledge. Lust for knowledge is good but the way is wrong. He cross all the limitations and invites his fall. according to me Dr.Faustus is responsibal for his own fall.

Paradise lost book-lX

Introduction:- Paradise Lost' is an epic poem by John Milton.The poem represents the great inevitable story of the Milton's tale-Adam and Eve's disobedience and the Fall of man and their expulsion from the Garden of Eden.If we look at the Biblical story of the fall of man than we see that the all stories were said form the divine perspective.God was the center of the Bible.While in the Paradise Lost divine perspective were retold from the human perspective.Milton 'justify the ways of God to men'.In fact he moves on the justify Man's ways in this world.   

       Eve in Paradise Lost is vain vulnerable and evidently intellectually inferior to Adam. However, Sandra M Gilbert argues that, though Milton portrays her as a weak character, he also puts her on a par with Satan in her refusal to accept hierarchy and because of her ability to move the plot of Paradise Lost Eve in Paradise Lost is vain vulnerable and evidently intellectually inferior to Adam. However, Sandra M Gilbert argues that, though Milton portrays her as a weak character, he also puts her on a par with Satan in her refusal to accept hierarchy and because of her ability to move the plot of Paradise Lost forward.            

           Satan, in the form of the serpent, searches for the couple. He is delighted to find Eve alone. Coiling up, he gets her attention, and begins flattering her beauty, grace, and godliness. Eve is amazed to see a creature of the Garden speak. He tells her in enticing language that he gained the gifts of speech and intellect by eating the savory fruit of one of the trees in the garden. He flatters Eve by saying that eating the apple also made him seek her out in order to worship her beauty.

Eve is amazed by the power that this fruit supposedly gives the snake. Curious to know which tree holds this fruit, Eve follows Satan until he brings her to the Tree of Knowledge. She recoils, telling him that God has forbidden them to eat from this tree, but Satan persists, arguing that God actually wants them to eat from the tree. Satan says that God forbids it only because he wants them to show their independence. Eve is now seriously tempted. The flattery has made her desire to know more. She reasons that God claimed that eating from this tree meant death, but the serpent ate (or so he claims) and not only does he still live, but can speak and think. God would have no reason to forbid the fruit unless it were powerful, Eve thinks, and seeing it right before her eyes makes all of the warnings seem exaggerated. It looks so perfect to Eve. She reaches for an apple, plucks it from the tree, and takes a bite. The Earth then feels wounded and nature sighs in woe, for with this act, humankind has fallen.

Eve’s first fallen thought is to find Adam and to have him eat of the forbidden fruit too so that they might be equal. She finds him nearby, and in hurried words tells him that she has eaten the fruit, and that her eyes have been opened. Adam drops the wreath of flowers he made for her. He is horrified because he knows that they are now doomed, but immediately decides that he cannot possibly live without Eve. Eve does not want Adam to remain and have another woman; she wants him to suffer the same fate as she. Adam realizes that if she is to be doomed, then he must follow. He eats the fruit. He too feels invigorated at first. He turns a lustful eye on Eve, and they run off into the woods for sexual play.

Adam and Eve fall asleep briefly, but upon awakening they see the world in a new way. They recognize their sin, and realize that they have lost Paradise. At first, Adam and Eve both believe that they will gain glorious amounts of knowledge, but the knowledge that they gained by eating the apple was only of the good that they had lost and the evil that they had brought upon themselves. They now see each other’s nakedness and are filled with shame. They cover themselves with leaves. Milton explains that their appetite for knowledge has been fulfilled, and their hunger for God has been quenched. Angry and confused, they continue to blame each other for committing the sin, while neither will admit any fault. Their shameful and tearful argument continues for hours.

• Conclusion:-

              Milton mocks the knightly romances of the Middle Ages on the grounds that they applaud merely superficial heroism. The idea of the chivalrous warrior was an oxymoron in Milton’s view. Milton presents his hero as a morally powerful person—Adam’s strength and martial prowess are entirely irrelevant. Milton voices doubts about whether his society will appreciate a real Christian hero, or whether he himself is still skilled enough or young enough to complete his literary task, balancing his confidence in his own ability with the humility appropriate to a Christian poet

Worksheet-'Hamlet' movie screening

• Introduction:-

            "Hamlet"written by William Shakespeare.He wasHamlet by William Shakespeare: Introduction. Hamlet is the first tragedy in Shakespeare's series of great tragedies which is believed to be published in between 1601 and 1603. This play is one of his successful, perfect and best plays ever known.

His famous four tragedy,....

•  Hamlet
• King Lear
• Othello
• Macbeth

        

In the First Folio, the plays of William Shakespeare were grouped into three categories: comedies, histories, and tragedies. The histories—along with those of contemporary Renaissance playwrights—help define the genre of history plays. Shakespeare's Histories might be more accurately called the "English history plays."

In addition to Hamlet's worth as a tragic hero, Restoration critics focused on the qualities of Shakespeare's language and, above all, on the question of tragic decorum. Critics disparaged the indecorous range of Shakespeare's language, with Polonius's fondness for puns and Hamlet's use of "mean" (i.e., low) expressions such as "there's the rub" receiving particular attention. Even more important was the question of decorum, which in the case of Hamlet focused on the play's violation of tragic unity of time and place, and on the characters.

                          

Hamlet—Son of the late King and nephew of the present King, Claudius.

• Claudius—King of Denmark, Hamlet's uncle and brother to the former King
• Gertrude—Queen of Denmark and Hamlet's mother
• Polonius—Chief counsellor to the king
• Ophelia—Polonius's daughter
• Horatio—Friend to Hamlet
• Laertes—Polonius's son
• Voltimand and Cornelius—Courtiers
• Rosencrantz and Guildenstern—Courtiers, friends of Hamlet

      

It’s only by chance, in other words, that Hamlet finally avenges his father’s murder, which might otherwise have remained unavenged. The retribution he happens to exact is exacted too late, moreover, to prevent all the deaths that need not have occurred, if only he had killed Claudius sooner. As a direct or indirect result of his procrastination, Hamlet slays Polonius instead of Claudius; Ophelia goes mad after her father’s murder and drowns; Rosencrantz and Guildenstern are dispatched by Hamlet to their deaths; and in the play’s climactic duel Hamlet’s mother drinks from the lethal cup intended for her son, who is fatally wounded by Laertes in revenge for the deaths of his father and sister. On them face of it, it’s hard to resist the conclusion most critics have drawn, which is that the main cause of the whole tragic train of events is Hamlet’s compulsion to postpone. And for those who assume that to be the case, all that remains is to crack the conundrum with which the play confronts them: why does Hamlet delay?  

Set in Denmark, the play dramatises the revenge Prince Hamlet is called to wreak upon his uncle, Claudius, by the ghost of Hamlet'sfather, King Hamlet. Claudius had murdered his own brother and seized the throne, also marrying his deceased brother's widow. 

Conclusion:-Hamlet is bent of revenge, but it can be said that Hamlet was not crazy. He was a man driven by grief and revenge for the wrongs that were done to him. When Ophelia commits suicide after her father's death, her brother, Laertes, comes and is angry and the king tells him that it was all Hamlet's fault.

Metaphysical Poetry

About Metaphysical Poetry

        The term metaphysical poets was coined by the critic Samuel Johnson to describe a loose group of 17th-century English poets whose work was characterized by the inventive use of conceits, and by a greater emphasis on the spoken rather than lyrical quality of their verse.

About Metaphysical poets

        The term metaphysical poets was coined by the critic Samuel Johnson to describe a loose group of 17th-century English poets whose work was characterized by the inventive use of conceits, and by a greater emphasis on the spoken rather than lyrical quality of their verse. These poets were not formally affiliated and few were highly regarded until 20th century attention established their importance. Given the lack of coherence as a movement, and the diversity of style between poets, it has been suggested that calling them Baroque poets after their era might be more useful. Once the Metaphysical style was established, however, it was occasionally adopted by other and especially younger poets to fit appropriate circumstances.

About Metaphysical Poetry and some Major poets

Metaphysical poet

• John Donne.

• Andrew Marvell.

• George Herbert.

• Richard Crashaw.

• Henry Vaughan.

• Abraham Cowley.

• John Cleveland.

• Edward Benlowes.

About major poet John Donne

     John Donne was an English poet and cleric in the Church of England. He is considered the pre-eminent representative of the metaphysical poets. His works are noted for their strong, sensual style and include sonnets, love poems, religious poems, Latin translations, epigrams, elegies, songs, satires and sermons.

His famous poetry works

• 'The Good-Morrow'. ...
• Holy Sonnet: 'Death, be not proud'. ...
• 'The Canonization'. ...
• 'A Valediction: Forbidding Mourning'. ...
• 'The Sun Rising'. ...
• Holy Sonnet: 'Batter my heart, three-person'd God'.