Tradition and Individual Talent: T.S.Eliot

Name: Bhatt Dhara

Roll No: 02

M.A. SEM II

Assignment topic: Tradition and Individual Talent:T.S.Eliot

Submitted to: Dr. Dilip Barad

Department of English,

Bhavnagar University,

Bhavnagar.

TRADITION AND INDIVIDUAL TALENT  1

INTRODUCTION :

T.s. eliot was most towering and dominating man of letters of the 20^th century. He was a versatile genius who during his long span of productive activity achieved distinction as a poet, play wright, journalist and critic. Eliot stands in long line of poet crities biginning with johnson and inculding such names as dryden,jonson,coleridage and matthew arnold such critics know the mysteries of thei own art and so can speack with force and conviction. Eliot’s critical pronouncements first published largely in the form of articles and eassays in numberous peridicals and jourals of the day  i have now been collected in the following book:

1. THE USE OF POETY AND THE USE OF CRITIDSM (1933)
2. THE IDEA OF A CHRISTION SOCIETY (1939)
3. NTES TOWARDS A DEFINITION OF CULTURE (1948)
4. SELECTED EASSAYS , THIRD EDITION (1951)
5. ON POETRY AND POETS. (1957)
6. TO CRITICISE THE CRITIC (1965)

“TRADITION AND INDIVIDUAL TALENT”

Poetry and drama , the function of criticism. The english mataphysical poets, the frontiers of criticlsm etc. Are among his more popular essays in litrary criticlsm.

TRADITION AND INDIVIDUAL TALENT:

Critical commentary manifesto of eliot’s critical creed.

            The essay “ tradition and individual talent” was first published in 1919 in the times literary supplement, as a critical article. The essay may be regarded as an unofficial manifesto of eliot’s critical creed, for it contains all those critical priciples from which his criticism has been derived ever slince. The seed which have been sown here come to fryition in his subsequent essays. It is a declaration of eliot’s critical creed and these principles are the basis of all his subsequent criticism.

-ITS THREE PARTS :-

# THE EASSAY  IS DIVIDED INTO THREE PARTS.

# The first part gives us eliot’s concept of tradition, and in the second part is developed his theory of the impersonality of poetry. The short third part is in the nature of a conclusion, or summing up of the whole discussion.

- TRADITION : WAYS ON WHICH IT CAN BE ACQUIRED

  

            For eliot, tradition is a matter of much wider significance. Tradition in the ture sence of the trem cannot be inherited, it can only be obtained by hard labour. This this labour is the labours of the knowing the past writers. It is the critical labour of shifting the good and useful. Tradition can be obtained only by those who have the histroical sense.

# The historical sense  involves a preception “ not only of the pastness of the part, but also of ots presense. One who has the histroic sense feels that the whole of the literture of europ from romar down to his own day, including the literature of his own century, forms one continuous literary tradition.

#          He realises thea past exists in present, and the past and present form one simultaneous order. This historica sense is the sense of timeless and the temporal, as well as of the timeless and the temporal together. It is this historic sense which makes a writer traditional. A writer with the sense of tradition is fully conscius of his own genration, of his place in the present, but he is also acutely conseious of his relationship with the writer of the past.

- DYNAMIC CONCEPTION OF TRADITION :

            Emphasising future the value of tradition, eliot points out that no writers has his value and significance in isolation to judge the work of a poet or an artist, we must compare and contrast his work with the work of poet and aritist in the past. Such comparison and contrast is essential for forming an idea a new the real worth and significance of a new writer and his work. Eilot’s conception of tradition is a dynamic one.

         According to his view, tradition is not anything fixed and ststic, it is constantly changing, growing and becoming different from what it is a writer in the present must seek gudinece from the past, he must conform to the literary tradition, but just as the past directs and gudies the present, so the present alters and modifies the past when a ne work of art is created, if it is a really new and original the whole literary tradition is modified though ever so silghtly.

- ITS FUNCTION :-

#          The work of a poet in the present is to be compared and contrasted with works of the past, and judged by the standards of the past. But this judgement dose not mean determining good or bad it dose not mean deciding whether the present work is better or worse then works of the past an author in the present is certainly only to be judged by the priciples and standard of the past the comparison is to be made for knowing the facts, all he facts, about the new work of art. The comparison is made for the purposes of analysis, and for forming a better understanding of the new.

#          The past helps us to understand the present, and he throws light on the past. It is this way along that we can form an idea of what is really individual and new. It is by comparison along that we can sift the traditional from individual elements in a given work of art.

- SENCE OF TRADITION :-

#          Eliot now explains future what he means by a sense of tradition. The sense of tradition dose not mean that the poet should try to know the past as whole,take it to be lump or mass without any discrimination. Such a ciurse is impossinle as well as undersirable.

#          A sense of tradition in the real sense means consciusness, “ of the main current, which does not at all flow invariably through the most distinquished reputation”

#       In other words, to know the tradition, the poet must judge critically what are the main trands and what are not. He must cnfine himself to the main trands to the exclusion of all that is incidental or topical.

#          The poet must also realise that art never improves, though its ,aterial is never the same. The great works of art never lose their significance, for there is no qualitative improvement in art. There may be refinment, there may be development. But from the point of view of the artist there is no improvement.

- IMPRESONALITY OF POETRY :-

#          The artist must continually surrender himself to something which is more valueable then himeself , i.e. the ilteraly tradition. he must allow his poetic sensibility to be shaped and modified by the past. he must continue to acuire the sense of tradition throughout his career in the beginning, his self, his individuality, may assert itslef , but as power mature there must be greater and greater extinction of personality.he must acaurie greater and greater objectivity his emotions and passion must be deper sonalised: he must be as impresonal and objective as a sceintifist. the presonality of the artist is not important : the important thing is his sense of ‘tradition’ a good poem is a living whole of all the poetry that has ever been written.

#          Thus the poet’s personality is merely a medium, having the same significance as catalytic agent, or a recepatabtacle in whice chemical reactions take place. that is why the poet hold that , “ honest criticism and sensitive appreciation is driect not upon the poet but uopn the poetry.”

- THE POETICS PROCESS :-

#          In the second part of the essay eliot develops furture his theory of the impersonality of poetry. He compares ths mind of the poet to a catalyst and the process of a chemical reaction, hust as chemical reactions take place in the presence of a catalyst along, so also the poet’s mind is the catalytic agent for combining different emotions into something new suppose there is a jar containing oxygen and sulphre dioxide. These two gases combine to form sulphureous acid when a fine filament of platinum is introduced into the jar. The

Combination takes place only in the presence of the place of platium, but the metal ifself dose not undergo any change, it remains insert, neutural and un affected. The mind of the poet is like the cataytic agent. It is necessary for combinations of emotions and experiences to take place, but itself dose not undergo any change during the process of poetic combination.

#          In the case of a young and immature poet, his mind , his personal emotions and experincess, may find some experssion in his composition, but ,says eliot,” the more perfact the artist, the more completely separste in him will be the man suffer and the mind which creates”.

#          T.s. eliot here distinguisher between emotions and feeling , but he dose not state what this difference is .

                    

            “ Nowhere else in his writings”says a.g. george,

 “is this distinction maintained: nither dose he adeauately distinguish between the meaning of the two words”

#          The distinction should , therefore , be ignored more as it has bearing on his impersonal theory of poetry.

- POETRY AS ORGNASATION:-

#          Eliot next compares the poet’s mind to a jar or receptable in which are stored numberless feeling, emotions etc. Which remain there is an organised and chaotic form till

            “all the particles which can unite to form a new compound are present together”.

Thus poetry is organisation rather then inspiration imperssion and experience which are important in for the man way find no place in his poetry, and those which become important in the poetry amy have no significance for the man.

#          Eliot’s rejects words woth’s theory of poetry. Having its origin “emotions recollected in tranquality”. And points out that in the process of poetic composition there is neither emotion, nor recollection for tranquality. In the poetic process there is only concentration of a number of experincess, and anew thing results from concentration. And this process of concentration is neither conscious nor deliberate : it is a passice one.

#          The difference between a good and a bad poet is that a bad is conscious and unconscious where he should be conscious. It is this consciouness of the wrong kind which makes a poem personal, whereas mature art must be impersonal, but eliot dose not tell us when a poet should be conscious, and when not. The point has been left vague and interminate.

- POETRY AS ESCAPE FROM PERSONALITY :-

            Eliot conclude:

            “poetry is not a turing loose of emotion, but as escape from emotion: it is not the expression of personality,but an escape from personality”.

            Thus, eloit dose not deny personality or emotion to the poet only , the must depersonalise his emotions. There should be exitinotion of his personality this impersonamlity can be achived only when the poet surrenders himself completely to the work that is to be done and the poet can know what is to be done , only if he acquires a sense of traditon, the historic sense, which makes him conscious, not only of the present, but alos of the present movement of the past, not only of what is dead, but of what is already living.

cultural studies and its four goals

Name: Bhatt Dhara

Roll No: 02

M.A. SEM II

Assignment topic: Cultural Studies and its Four Goals

Submitted to: Dr. Dilip Barad

Department of English,

Bhavnagar University,

Bhavnagar.

CULTURAL STUDIES AND ITS FOUR GOALS:-

# INTRODUCTION :- “ CULTURAL STUDIES”

            The word “culture” itself it so difficult to pin down , “cultural studies” is hard to define. As we also the case in chapter 8 with elaine showalter’s “cultural” model of feminine difference.”Cultural studies “is not so much a discrete approach at all, but rather a set of practices. As partick brantinger has pointed out, culturalstudies in not ‘a tightly coherent,unified movement with a fixed agenda.”But a loosely coherent group of tendencies,issues, and question.” 

- Arising from the social turmoil of the 1960s , cultural studies is composed af elements of maxism, poststructuralismand post modernism, femining,gender studies, anthropology, sociology,race and ethinc studies, film theory,urban studies, public policy,popular culture studies and postcolonial studies.

- Those filed that concentrate on social and cultural forces that either creat community or cause division and allienation levi-strauss on anthropology, cultural studies was influenced by structuralism and poststructyralism. Jacquyes derrida’s “deconstruction” of the world i text distiction,like all his deconstructions of hierarchical oppastions, has urged or enabled-cultural critics “to erase the doundraies between high and low culture,classic and popular literary texts,and literature and other cultural discoureses that following derrida, may be seen as manifestations of the same textuality.

             The disceipline of psychology has also entered the filed of cultural studies. For example , jacques lacan’s psychianalytic theiry of the unconscious structured as a language promoted emphasis upon language and power as symbolic systems. From michel foucault came the notion that power is whole complex of forces: it is that which produces what happens.

             Foucalt’s “genealgy” of topics inculdies many things excluded by traditional historians,from architectural blueprints for prison to memoris of “deviants”  psychoanalytic, structuralist. Approches are treated elswhere in ther handbook in the present chapter, we review cultural studies ‘ connections with maxism , the new historicism, multiculturalism,postmodernism,popular culture, and post colonial studies before moving on to our group of six literary works.

# CULTURAL STUDIES ITS FOR GOALS:-

- CULTURAL STUDIES APPROCHES GENERALLY SHARE FOUR GOALS

1. FIRST: cultural studies trancends the confines of a PARTICULAR DISCIPLINE such as literary criticism or history.
2. SECOND: cultura; studies is politically engaged.
3. THIRD: cultural studies denies the separation of “HIGH”AND “LOW” OR elite and popular culture.
4. FORTH: cultural studies analzes not only the cultural work , but also the means of production.

# FIRST DISCUSS A FIRST GOALS.

1. FIRST :- GOAL

“ Cultural studies trancends the confine of a particular discipline such as literary criticism or history. “practiced in such journal as critical inquiry , representations, and boundary 2 , cultural studies involves scrutinizing the cultural phenomenon of a text – for example italian opera, a latino telenovela, the architectural styles of prisons, body piercling and drawing conclusion about the change in textual phenomena over time.

# Cultural studies is not necessarily about literature in the traditional sense or even about “art”. In their introduction to cultural studies , editors lawrence grossberg,cary nelson , and paula treichler emphasize that the inhllectual promise of cultural studiess lies in the attempts to “ cut across diverse social and political interests and address many of the struggles within the current scene.”

- Intellectual works are not limited by their own “borders” as single texts, historical problems or disciplines , and the critic’s own personal connections to what is being analyzed amy also be described.

     

- Henty giroux and others write in their dalhousie review  manifesto that cultural studies practitioners are “resisting intellectuals” who see what they do as “an emancipatory project.” Because it erodes the traditional disciplinary divisions in most institutions of higher education.

- SECOND GOAL:-

     

      “ Cultural studies is political engaged” cultural critice see themselves as “ oppositional” not only within their own disciplines but to many of the power structures of society at large. They question inequalities within power stuctures and seek to disover modles for restructuring relationship amany dominant and “minority” or “subaltern” discourses. Because meaning and individual subjectivity are culturally construsted , they can thus be reconstructed. Such a notion , taken to a philosophical extreme , denies the qutonomy of the individual, whether an actual person or a character in literature , a rebuttal of the traditional humanistic “great man” or “great book” theory, and a relocational of aesthetics and cultural from the idal realms of taste and sensibility, into the arena of a whole socity’s everyday life as it is constructed.

- THIRD GOAL:-

      “Cultural studies denies the separtion of high and low or elite and popular culture     might hear someone remark at the symphony or art museum: “i came here to get a little culture”.

      Being a “cultured” person used to mean being acquainted with “highbrow” art and intellectual pursuits. But isn’s culture also to be found with a pair of tickets to a rock concert?

      Cultural critics today work to transfer the term culture today work to transfer the term culture to include mass culture, whether popular , flok , or urban. Following theorists jean baudrillard and andreas huyssen,cultural critics argue that after world war ii the distinctions among high , low and mass culture collapsed , and they cite other theorists such as pierre boundiry and dick hedbige on how “ggod taste” only reflects prevailing social, economic and political power bases. For example , the images of india that were circulated during the colonical rule of the british raj by writes like by rudyard kipling seem innocent , but reval and enterenched impericlist arqument for white superiority and worldwide domination of other races, especially asians. But race along was not the issue for the british raj: money was also a deciding factor. Thus , drawing also upon the ideas of french historian michel de certeau, cultural critics examine.

      #    “The practice of every life”

      stydying litrature as an anthropologist would, as a 

      phenomenon of culture , including  a culture’s economy ,

      rether then determining which are the “best” works

      produced , culture wlitics describe what is produced and

      how carious productions relate to one another. They alm to 

      reveal the political, economic reasons why a certain

      cultural product is move valued at certain times then  

      others.   

           

            [ THE BIRTH OF CAPTAIN]

            Transgressing of boundaries among disciplines high and low can make cultural studies just plain fun. Think , for example , of a possible cultural studies research paper with following title: the birth of captian jack sparrow: an analysis . Robert louis stevenson’s long john silver in treasure island (1881) errol flynn’s and robert morgan’s memorable screen pirates , john cleese’s rendition of long  john silver on juarty python’s flying circus, and of course , keith richards’s eye make up.

- FORTH GOAL :-

 #         “Cultural studies analyzes not only the cultural work , but also the means of production.

#          Maxist critics have long recognized the importance of such paraliterary questions as these : who supports a given artist  ? Who publishes his or her books , and how are these books distributed ? Who buys books ? For that matters , who is literate and who is not ? A well – known analysis of literary production is janice radway’s study of the american romance noval and its readers. Reading the romance women, partriarchy and popular literature , which demonstrates the textual effects of the publishing industry’s decision about books that will minimize its financial risks. Another contribution is the collection reading in america, edited by cathy n. Davidson, which includeds essays on literacy and gender in colonical new england  urban magazine qudiences in eighteenth century new york city ; the impact upon reading such technical innovations as cheaper eyeglasses , electriclights , and trains ; the book of the month club ; and how writers and texts go through fluctuations of popularity and canonicity . These studies help up recognize that literature dose not accur in a space separate from other concerns of our lives.

#          Cultural studies thus joins subjectivity – that is , cultural in relation to individual lives- with engagement , a direct approch to attacking social ills. Thoughcultural studies prectitioners deny “humanism “ or “the humanities” as universal categories, they strive for what they might call “social reason”, which often (closly) resembles the goals and values of humanistic and democratic ideals.

Revival of Romanticism features in Shelley and Byron

Name: Bhatt Dhara

Roll No: 02

M.A. SEM II

Assignment topic: Revival of Romantic Features in Shelley and Byron

Submitted to: Mr. Jay Mehta

Department of English,

Bhavnagar University,

Bhavnagar.

v Revival of romantic feature Shelley and Byron

ü Introduction

·        The romantic revival:-

No label can accurately describe a period so rich and varied in achievement as the fifty years following the death of Johnson. Romanticism generally speaking is the expression in terms of art of sharpened sensibilities, heightened imagination point of view that has influenced many art forms and has left its mark also philosophy and history.

The supreme romantic movement in English letters was the renalsence. It had transformed not only English but European life ; but like every great impulse in art and life . it had been followed by a period of reaction. The great romanticism were , as I have said, also always generates a certain tendency to exaggeration and aloofness from the condition of ordinary life.

The romantic revival was the result of no one cause .broadly speaking, it was the inevitable corollary of the renascence and reformation. the dignity and importance of man as man, the glries of the world of nature ,-these ideas of which we hear so much at the close of the eighteenth century were born centuries before and had been gradually working in men’s minds through all the political unrest of the seventeenth and eighteenth centuries. The first flowering of romanticism in England the bloody horrors of the French revolution the kindling of a new idealistic philosophy in germony under kant and hegek. The political upheaval in American all these things were but varying symptoms of a general ferment that had lasted on from the fifteenth century.

It is well to remember this for although the social theories of rousseau roughly embodies in the familiar phrase the “return to nature” did materially affect dootrinaires like William godwin and through godwin Shelley ; and although the battle-cry of the revolutionaries.

“Liberty equality and fraternity”impressed itself on the youthful imagination of words worth and Coleridge the general characteristics of the revival suggested above were collateral with the revolution not derived from it.

Emerson’s spiritual asceticism thoreau’s “reduction of life to its lowest terms” and his sylvan solitudes; the open-air democratic fervor of whitmen are offshoots of romanticism ; while the absorption by Byron and Shelley of certain aspects of the French revolution the glorification of liberty the vindication of the natural instincts these matters that merged into the great stream of humanitarian sentiment which swept through our life and literature and literature in the early years of nineteenth century had their source and inspiration in the revival of romance.

(our Victorian literature) the chief thing to remember is that the Fresh air was badly wanted ; our literature needed a vivifying and expanding influence. This the writers of the time achieved our Victorian literature had ben far less rich in concrete beutifuties in intellectual constructiveness in sanity and strength without even the untrained and riotous splendor that gave dynamic power to the men and women of the romantic revival.

v Lord Byron:à

ü Byron - the great poet of freedom and liberty:à

Byron was one of the proudest revolutionary poets and the poets of freedom and liberty that England has ever produced. He was a born rebel and the fire of liberty and hatred for tyolannyburntfurioutsly in his veins.

Buron has been from childhood days a great fighter and he stood vigorously against all forms of tyrannies and oppressions. He attacked all the conventional all the hypocrisies all the moral commonplace of English society in his poetry.

ü Byron – the great champion of the outcast-byron:

Byron was the great advocate of the out-cast and down-trodden people and always stood the defense of liberty and freedom .this love for freedom was not a theoretical principle with him but a practical beacon of life. He cried against the powers of tyranny in the following words:

“What shall revolting thralldom be the patched up idol of enlightened days” 

ü Byron stood for both personal and nation liberty:à

He stood for personal liberty and the liberty of nation. His views were determined by a powerful and positive bilief in the work individual man. He fought for the cause of liberty and went to Greece to support the Greeks in their struggle against tyranny. “his conception of liberty” as bowra observes “was more instructive than intellectual if he something followed mere whims and impulses if some of his ambitions were no more than affectation he was not without guiding principles and his death at rissolonghi shows that he was not an actor but soldier a man of affairs and a master of man”

This love of liberty is well-marked in Byron;s works. He wrote the ‘prisoner of chillon’ in the defense of liberty and the here bonnivard is a votary of liberty like Byron himself the whole oppressed Europe looked to him for salvation and he became the trumpet voice of freedom with Byron liberty became the ruling passion and he considered it his birth right to fight against all tyranny;

“for I will rack if possible the stars to rise against earth’s tyrants”

ü Both Byron and Shelley attacked tyrants:à

This love of liberty is expressed in the denunciation of tyrants such as nepolean and the duke of wellington “best of cut throats” and in denouncing czar and evil-agents. In this connection it is better to compare Shelley and Byron. Shelley thought of the future and was inspired by an ideal future Byron attacked tyrants wherever they existed and pleaded the cause of oppressed humanity Byron accused his own country men of arraying their strength in the side of tyranny and stated that freedom could be possible whwn the powerful obstacles thrones and courts were removed.

ü Byron – a true follower of the principles of the French revolution:à

Byron remained more than other romantics a true follower of the principles of the revolution.

“much more than wordsworth and Coleridge who after their first enthusiasm for the revolution surrendered to caution and seepticism more even than heats whose love of liberty was hardly developed to its full range Byron wished to be free and wished the other men must be free too ”

Byron was equally revolutionary in his attitude towards the evils and vices of his age. He was social revolutionary and ruthlessly exposed and attacked as in ‘danjuan’ the philistinism of upper English class the artistocracy and monarchy. He exposed the hypocrisy the senseless cruelty the snobbery the fraud the cant and the indolence of the upper classes in society.

He may have felt scornful of the saceharine joys of romanticism but the had a sweet tooth and yielded to its blandishments on the whole Byron was more interesting as a person a personality than writer because of his complex nature and of his picturesaue setting in the social condition of his time.

The second generation of romantics with the exception of heats who lived in an ivory tower of his own crated by his love of beauty carried on a revolt against the social structure kings and unjust laws. though the first generation of the romantics gave up their revolutionary enthusiasm yet the romantic revolt went on, the romantic movement began as a conscious protest and never lost the attitude of rebellioum Byron had a grudge against society and without knowing much of it he satirized bourgeois life.

v PERCY BYSSHE  SHELLEY (1792-1822)

The poet Shelley was the eldest own son of narrow minded representative of an old country family the shelleys of field place Sussex where this “brilliant wayward ill-fated youth” was born on august 4,1792

ü A lover of liberty and freedom:à

Shelley had certain inherent tendencies of character which ultimately made him a rebel and reformer a prophet and an idealist in his life. He was from his eton days a lover of liberty and freedom and his soul revolted against all forms of tyranny and oppression shelley’s humanitarianism his love of liberty and hatred of oppression turned him in to a rebel against all  those established institutions,political,religious and social which meant to suppress mankind in any part of the world. The practice of sham religious and morals prevailing in the contempory society often excite his fragile exterior in pury and revolt.

·        His work:à

Shelley exhaled verse as a flower exhales fragrance and just as the fragrance of a blossom varies in quality and power, so did Shelley’s verse vary in poetics merit.

One other thing distinguish Shelley from his contemporaries. He is a reformer as well as a poet little interested in the past mindful only of the present when it jarred on his social idealism his eyes are fixed intensely on the future. To renovate the world to bring about utopia that his constant aim and for this reason we may regard Shelley as emphatically the poet of eagar sensitive youth not the animal youth of Byron but the spiritual youth of the visionary and reformer. The revolution Shelley was much more than a political upheaval it was a spiritual awakening. The beginning of a new life. Master yourself he cries and external freedom will enable you to realize your utmost capabilities. Love is to reign supreme for only in an atmosphere of love can liberty efficiently work love is with Shelley a transcendentital force kinding all things into beauty.

ü “the ode to the west wind”:à

The ode to the west wind is not greater artistically that were impossible but is has an intellectual and human interest designedly absent from the shorter piece

The logical development of imaginative idea is so admirable that it deserves the fullest attention weakingalongthe banks of the arno the poet has seen from the wood hard by the rising autumnal storm carrying with its freight of leaves surging along comes this beneficent destroyer scattering the black , scarlet , and fellow leaves far and wide:

“Yellow and black and pale and hectic red pestilence stricken multitudes: o thou who chariotest to dark wintry bed.

The winged seeds where they lie cold and low each like a corpse within its grave until thine azure sister of the spring shall blow

Her clarieon o’er the dreming earth and fill (driving sweest buds like flocks to feed in air) with living hues and odours plain and hill:

Wild spirit which art anoving everywhere destroyer and preserver hear o hear ”

The “wild spirit” is then both “a destroyer and preserver”

With each variation of the priginal thought the poet given us a flood of superb imagery strengthening the main theme never weakening by far fetched conceits we pass in turn over earth sky and sea the music growing fuller and more majestic as the poem sweeps on “o life me as wave a leaf a cloud” find as in visible world so in the poet’s soul the wind is both destroyer and preserve:

“Drive my dead thoughts over the universe like withered leaves to auicken a new birth”

Then from the individual the poem passes to the universal. The old world must go a new world must come with the spiringladen with fresh sweest promises for suffering humanity:

“O, wind if winter comes can spring be far behind?”

Thus does this wonderful lyrics end there is no greater lyric in our language.

ü Shelley’s method of reformation :à

Shelley’s method of reformation was to direct the attention of the reformers to an idealized picture of the world. He pointed out in ‘promethus unbound’

“My purpose has hither to been simply to familiarize the highly refined imagination of more select classes of poetical readers with beautiful idealism of moral excellence.”

Shelley made his appeal of reform not to the masses of the people but to the highly refined imagination of the select poetical readers.he sought to usher in an order of society in which equality, liberty and justice would be the watchwords of sociall life. He planned a society based on liberty and love, brotherhood ofmankind and the victory of good over evil. In short shelley’s reformed world of ideal happiness for all humanbeings.

ü Shelley was ahead of his times:à

Though Shelley could not bring the about reform that he strove to introduce through his poetry in his life time yet during the Victorian age his unheard voice sought to be captured in new idealistic fervor for reform thet followed in the wake of the reform bills. What Shelley sounded in queen mab and revolt of islam became the guiding principles of reformers during the victoirian age and earned the praise in our times of such Fabian socialists as George Bernard shaw. To day Shelley is considered a prophet and an idealist a man for in advance of his times in reformative zeal and if the poet had been alive to day he would have been honoured and admired for he had in him the seeds of a true reformer.

Time and space in The Shadow Lines

Assignment:

Assignment paper: 2

Topic: Time and space in The Shadow Lines

Student name: Bhatt Dhara

Roll no.: 02

Paper no.: 2979:VII-EC-202

Sem.:2

Batch:2011

Submitted to: Devershi Mehta

Department of English

Time and space in The Shadow Lines

     Preface

The shadow Lines is a stunning book –amusing, sad, wise and international in scope. It chronicles the story of two familiar, one in Calcutta London from the outbreak of world War ii to modern times.Inter-alia, The shadow Lines is also a book about the prodigious imagination of its narrator who is the chronicler of the lives around him and presents the events with amazing insight, sometimes skipping from city to city in the same breaths and recreating events that happened before he was born with marvelous accuracy and about the lines and borders that are being drawn world over to divided and isolate one man from the other .

      One of the chief features of The Shadow Lines is that it is not written sequentially. The novel moves back and forth with little regard to the chronology of times and distance.

       In this novel the shadow Lines is a highly invocation, complex and celebrated novel of Amitav Gosh in the 1988, it received the following year not only not only literary critics but also some noted literature have acclaimed it for what it has been able to achieve as a work of art .Its focus is a fact of history ,the post partition scenario of violence;butist overall form is a subtle interweaving of fact ,fiction and reminiscence.

It is a novel in which Amitav Ghosh has been able to realize conception through an art form which is cohesive .However, it   remains somewhat inaccessible to some readers; they are particularly, mystified by its non linear mode .The volume of critical essays on the shadow Lines is being presented in hope that it will enable the reader to gain on insight into the meaning and structure of insight into the meaning and structure of the novel.

        In the first part of the book, the contributory bring out the various aspects of the novel.

        In the second part of his essays which look at the novel form some current critical perspective feminist, post colonial and historicist but the emphasis of these essays in upon practice and not theory .the idea is that the reader learns about a specific approach by seeing it applied to the shadow Lines .The Third has a single but significant essay The shadow Lines in context which related the novel to Ghosh other works ,both fiction and nonfiction.

       Content                 

Part one

1 the shadow lines as a memory novel

    Manuela saxena

2 The narrator and the chronicling of self in The shadow Lines.

      Premindha Bannejee

4 Nation as Identity in The shadow Lines

Alta kumara

         Amitav Ghosh’s the shadow lines more important of time and space. Thus The poet says “the shadow Lines “ was memrory novel.

       Time and space

The shadow lines is a challenge to be overcome by the use of imagination and desire until space melts time and space coalesce in a seamless continuity. Both Triadic and the narrator are engaged in the creation of the world as it comes alive to them or to their powerful imagination .Tribe’s idea of romantic love in place without history, without a past is magnificent .It is this continuation that his ideal becomes the story of man who fell in love with a women across of the sacs.                  

“The formal logic of the clock “

In “shadow lines” first time and space here we can say that important of time and place.

Distance and time are shadows in the novel therefore illusory .Time and distance have been blended harmoniously and does not cause fiction .These two challenge in the novel to be overcome by reader’s fine since of imagination like that of narrator’s Triadic had told him of the desire that could carry one beyond the limits accommodate the happenings of the shadow Lines.

 The story in the shadow lines primarily runs in flashback though there are interruption at times .It covers the two extreme points on the globe, Calcutta and London and covers up the story of two families of close acquaintance.

Triadic gets his initial memories of war time the place again but the experience and the stories the he pulled out there served as a reservoir for a long time to come and he entertains the narrator especially ,with them and they become the magical talismans for him to be endowed with realize later. The flash breaks now and then to give an insight the lives of characters. the novel trotting be sahib,treawesen.IIa or Maya devi and such distance had got to be covered fast or else it would pose a hardtop the smooth sailing of the plot.

 The narrator had described all the events in fact narrated the whole story in year’s time when he had gone to England or a year’s research to collection material from India office liberty where all the colonial records were kept for the PhD thesis on the textile trade between India and England 19^th century.

Glimpses of three generations of princes,Tha’mma nationalists Zeal ,shippers of second world war ,death of triadic in Dhaka and Calcutta ,Mu-i-Mubarak  episode in Kashmir all these shreds are blended amicably without giving a feeling of bumpy ride .And this has been possible only been so closely interwoven discarded at times in the novel that seem to be seamless continuity.

    Sometimes ago there was article in The Indian Expresses called

“Crossing all boundaries the end of geography “

In this quote highghtened all the boundaries of imagination, time, place memory, dream all the aspects are highly used by poets.

 In shadow lines exist all the boundaries of human to reach in Amitav Ghost most described time and space. In the shadow Lines, Amitav Ghosh says that this novel was one way

         “Recollection of his memory”

The words lines and borers something used limitation of human mind Amitav Ghosh used most of philosophical ideas in this novel. In novel suggest Diasporas feeling of the novel.

The narrator’s knowledge of war time London was not gained from books but from it Uncle Tribe’s experience, Tridib taught him how to use his imagination.

Removal of the boundaries or the bordered so that the earth becomes but one country and mankind its citizen or to talk In more practical terms ,formation of world government or at least peaceful co-existence without losing the culture identity seems to be the message of the shadow lines.