04:18
Heel pain
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*Heel painHeel pain is sometimes targeted on the face or the rear of your
heel. If your pain is on the face of your heel, i...
10 years ago
The Importance of Being Earnest
"I've now realised for the first time in my life the vital Importance of Being Earnest."
Othello
"My heart's subdued/ Even to the very quality of my lord./ I saw Othello's visage in his mind,/ And to his honors and his valiant parts/ Did I my soul and fortunes consecrate
William Shakespeare
All the world's a stage, and all the men and women merely players: they have their exits and their entrances; and one man in his time plays many parts, his acts being seven ages.
They flee from
They flee from me that sometime did me seek With naked foot, stalking in my chamber. I have seen them gentle, tame, and meek, That now are wild and do not remember That sometime they put themself in danger To take bread at my hand; and now they range, Busily seeking with a continual change. Thanked be fortune it hath been otherwise Twenty times better; but once in special, In thin array after a pleasant guise, When her loose gown from her shoulders did fall, And she me caught in her arms long and small; Therewithall sweetly did me kiss And softly said, “Dear heart, how like you this?” It was no dream: I lay broad waking. But all is turned thorough my gentleness Into a strange fashion of forsaking; And I have leave to go of her goodness, And she also, to use newfangleness. But since that I so kindly am served I would fain know what she hath deserved.
Doctor Faustus
The Tragicall History of the Life and Death of Doctor Faustus, commonly referred to simply as Doctor Faustus, is a play by Christopher Marlowe, based on the Faust story, in which a man sells his soul to the devil for power and knowledge.
pride and prejudice
It is a truth universally acknowledged, that a single man in possession of a good fortune, must be in want of a wife. However little known the feelings or views of such a man may be on his first entering a neighbourhood, this truth is so well fixed in the minds of the surrounding families, that he is considered the rightful property of some one or other of their daughters.
Poppies in October
Even the sun-clouds this morning cannot manage such skirts. Nor the woman in the ambulance Whose red heart blooms through her coat so astoundingly -- A gift, a love gift Utterly unasked for By a sky Palely and flamily Igniting its carbon monoxides, by eyes Dulled to a halt under bowlers. O my God, what am I That these late mouths should cry open In a forest of frost, in a dawn of cornflowers.
Wednesday, 8 May 2013
Monday, 6 May 2013
Theme of Love in Emily Bronte's Wuthering Heights
Theme of Love in Emily Bronte's Wuthering Heights
In Wuthering Heights Emily Bronte has Presented the love-relationship of Heathcliff and Catherine, but not that of the other lovers as an archetype. It expresses the passionate longing to be whole, to give oneself unreservedly to another and gain a whole self or sense of identity back, to be all-in-all for each other, so that nothing else in the world matters, and to be loved in this way forever.
Their love exists on a higher or spiritual plane; they are soul mates, two people who have an affinity for each other which draws them together irresistibly. Heathcliff repeatedly calls Catherine his soul. Such a love is not necessarily fortunate or happy. For C. Day Lewis, Heathcliff and Catherine "represent the essential isolation of the soul, the agony of two souls–or rather, shall we say? Two halves of a single soul–forever sundered and struggling to unite."
Heathcliff says that "misery ,and degradation ,and death ,and nothing that God or satan could inflict would have parted us " if Catherine had not done it herself . They know that they can't be living separately from each other. Catherine says to Heathcliff- "Stay and never go again, for every of your departure made me sick and every of your appearance brought me great cheer , great excitement ''. She also says- "Heathcliff! I only wish us never to be parted," when Nelly says that marriage will separate her from Heathcliff ,but Catherine replies –''don't talk of our separation -it is impractical ;" Catherine thinks that marriage will not able to divide them because " Whatever our souls are made of, his and mine are the same, and Linton's is as different as a moonbeam from lightning, or frost from fire.'' Their love for each other is so passionate that they can not possibly live apart –'' he shall never know how I love him; and that, not because he's handsome, Nelly, but because he's more myself than I am.'' . He says after Catherine's death :" Be with me always — take any form — drive me mad! Only do not leave me in this abyss, where I cannot find you! Oh, God! it is unutterable! I cannot live without my life! I cannot live without my soul!'' He felt as though she had left him to live a life lonely abyss: without her, without love, without soul.
Their passionate love do not fade away with even after Catherine's death. After the death of Catherine, Heathcliff seeks her everywhere. He finds Catherine moving about the moors, hears her voice in stormy night knocking at the windows of Wuthering Height praying to be admitted in . This elusive image torments him for this long period, yet it is her shadowy presence that begins to occupy his mind more and more and drives away all other thoughts. It is the only thing that gives meaning to his life. "I cannot look down to this floor, but her features are shaped in the flags! In every cloud, in every tree—filling the air at night, and caught by glimpses in every object by day—I am surrounded with her image!. The entire world is a dreadful collection of memoranda that she did exist, and that I have lost her!"
Their love is an attempt to break the boundaries of self and to fuse with another to transcend the inherent separateness of the human condition; fusion with another will by uniting two incomplete individuals create a whole and achieve new sense of identity, a complete and unified identity. This need for fusion motivates Heathcliff's determination to "absorb" Catherine's corpse into his and for them to "dissolve" into each other so thoroughly that Edgar will not be able to distinguish Catherine from him.
A unique example of true love is displayed through the love of Heathcliff and Catherine. Its intensity builds from their childhood. The extent of this love is exemplified during Heathcliff and Catherine's interactions with each other, during Catherine's statements to Nelly, and during Catherine's death where Heathcliff and Catherine embrace for the last time. At the time of her illness she yearned for Heathcliff. After hearing the news of Heathcliff's departure, she becomes ill. But when she hears the news of his return she becomes excited and describes his return to Nelly as "The event of this evening has reconciled me to God and humanity." Even when she was dying, whom she wanted to meet was still Heathcliff . On the contrary, she didn't remember Edgar clearly. She finds miseries in his miseries-" My great miseries in this world have been Heathcliff's miseries, and I watched and felt each from the beginning; my great thought in living is himself. If all else perished, and he remained, I should still continue to be; and, if all else remained, and he were annihilated, the Universe would turn to a mighty stranger. I should not seem part of it" (Ch. ix, p. 64)." The love she had for Heathcliff remained intact, always. As she herself said "My love for Linton is like the foliage in the woods, time will change it, I'm well aware, as winter changes the trees. My love for Heathcliff is like the eternal rocks beneath-a source of little visible delight, but necessary. Nelly, I am Heathcliff-he's always, always on my mind-not as pleasure, anymore than I am always a pleasure to myself-but as my own being." s". It is clear that even after marriage, she still loves him more.''
The novel is based around Catherine and Heathcliff's spiritual and eternal love for one another; even when Catherine dies the love between them still influences those around them. Their love is different from conventional romance between a man and a woman.
Wednesday, 1 May 2013
Eliot’s Depersonalization theory
Eliot’s Depersonalization theory
In "Tradition and Individual Talent", Eliot opposes the Romantic conception by advancing his theory of impersonality in art and opines that the artistic process is a process of depersonalization and that the artist will surrender himself totally to the creative work. Eliot particularly objected to the great Romantics as well as Victorians who exaggerated the need to express human personality and subjective feeling and he says, "The progress of am artist is a continual self sacrifice, a continual extinction of personality."
Eliot holds that the poet and the poem are two separate things and "that the feelings or the emotion, or vision, resulting from the poem is something different from the feeling or emotion or vision in the mind of the poet." Hence, he elucidates his theory of impersonality by examining, first, the relation of the poet to the part and secondly, the relation of the poem to its author. Eliot realizes that the past exists in the present. "No poet, no artist of any art, has his complete meaning alone. His signification, his appreciation, is the appreciation of his relation to the dead poets and artists. You can value him alone. You must set him for contrast and comparison among the deads."
Eliot points out the relation of the poem to its author; and says that the poem has no relation to the poet. There is detached or alienation between the poet and his poem. The difference between the mind of a nature poet and that of am immature one is that the mind of a nature poet is "a more finely perfected medium in which special or varied feelings are at liberty to enter into new combinations". According to Eliot, the art emotion is different from personal emotion. A successful artist s he, who can generalize emotion in the reader's one while he himself seemed to be unaffected by any emotion. In the other hand he should be depersonalized in experience he describes in the poem.
Eliot brings the analogy of chemical reaction to explain the process of depersonalization. In this respect he has drawn a scientific analogy. He tells that a poet should serve the sold of platinum which makes sulphurus acid. He says, "When the two gases, previously mentioned (oxygen and Sulpher dioxide) are mixed in the presence of a filament of Platinum. They form Sulphurous acid. The combination takes place only he the Platinum is present; nevertheless, the newly formed acid contains no trace of Platinum, and the Platinum itself is apparently unaffected has remained inert, neutral, and unchanged. The mind of the poet is the shred of Platinum. It may partly or exclusively operate upon the experience of the man himself; but, the more perfect the artist, the more completely separate in his will be the man who suffers and the mind which creates, the one perfectly will be the mind digest and transmute the passions which are its material."
Eliot next compares the poet's mind to a receptacle in which are stored numberless feelings, emotion, images, phases etc. , which remain there in an unorganized and chaotic form till, "all the particles which can unite to form a new compound are present together." Thus poetry is organization rather than inspiration. And the greatness of a poem does not depend upon the greatness or the intensity of the emotions, but upon the intensity of the process of poetic composition. The more intense the poetic process, the greater the poem.
He strongly believes that "the differences between art and the event are always absolute. Eliot illustrate his view by a few examples among which one is of Keats' One to a Nightingale, which contains a number of feelings which have nothing particular to do with the nightingale, but which the nightingale ,partly perhaps because it's attractive name, and partly because of it's reputation served to bring together. He illustrates his theory by a few examples. The artistic emotion evoked by Dante in his treatment of the episode of Paolo and Francesca is different from the actual emotion in the situation. The artistic emotion may approximate to the actual emotion as in Agamemnon the artistic emotion approximates to the emotion of am actual spectator; in Othello to the emotion of the protagonist himself.
Eliot believes that the main concern of the poet is not the expression of personality. He says, “the poet has, not a personality to express but a particular medium which is only a medium and a personality, in which impressions and experiences combine in peculiar and unexpected ways, impressions and experiences which are important for the may take no place in the poetry, and those which become important in the poetry may play quite a negligible part in the man, the personality”. Again, there is no need for poet to try to express new human emotions in poetry. The business of the poet. Eliot says, is not to find new emotions, but use of the ordinary ones and, in working them up in poetry, to express feelings which are not in actual emotions at all". Eliot's final definition of poetry is:"poetry is not a turning loose of emotion, but an escape from emotion: it is not the expression of personality, but an escape from personality."
It is not the expression of personality but an escape from personality. He emphasizes the same theory of impersonality in art. The emotion of art is impersonal. It has its life in the poem and not in the history of poets. So, honest criticism and sensitive appreciation is directed not upon the poet but upon the poetry. The poet's biography is not to be studied the structure of the poem and its evocative powers are important.
Eliot's theory of depersonalization has been criticized by critics like Ransom and Yvor Winters. Ransom regards Eliot's theory as “very neatly a doctrine of poetic automation".
To Fei Pai Lu, Eliot's theory of depersonalization is completely vague. He says, "in the name of impersonality", Eliot by turns commends and censures poets and artist.
From what we have said, above it follows that there as no connection between the poet's personality and the poem. The feelings of the poetry need not necessarily his own.
source----blog
Allah notices it
It doesn't matter that people don't notice the good that you do. What matters is that Allah notices it. Never forget that.