Tennyson & Browning

 Tennyson & Browning

Question : Justify Tennyson as the representative literary figure of the Victorian Era.

Answer :

Introduction : Alfred Lord Tennyson is widely regarded as the representative literary figure of the Victorian era because his poetry deeply reflects the social, cultural, and intellectual currents of the time. His works engage with key Victorian concerns, such as the tension between faith and science, the role of duty and honor, and the complexities of personal and social identity, all while embodying the aesthetic values of the era.

 Engagement with Victorian Themes:

Tennyson’s poetry addresses the moral and intellectual dilemmas of the Victorian period, notably the tension between traditional religious beliefs and the emerging scientific worldview. In his poem In Memoriam, for instance, he grapples with the death of his close friend, Arthur Hallam, while confronting the implications of Darwin's theory of evolution, which was challenging traditional Christian doctrines about creation and the afterlife. The poem is a profound meditation on grief, loss, and the search for spiritual meaning in a changing world, reflecting the Victorian struggle to reconcile faith with modern science.

 Victorian Morality and Duty:

Tennyson’s works often explore themes of duty and personal responsibility, which were central to Victorian moral values. His poem Ulysses portrays the legendary Greek hero in his old age, longing for adventure and action despite his years. Through Ulysses' speech, Tennyson conveys a message of ceaseless striving and the desire for purpose, reflecting the Victorian ideal that one should always pursue a higher calling and fulfill one’s duty, regardless of age or circumstance.

Poetic Style and Popularity:

Tennyson’s distinct poetic style, marked by musicality, elevated diction, and vivid imagery, was widely admired during the Victorian era. His ability to capture complex emotional and philosophical concerns in accessible, melodic verse made him one of the most popular poets of his time. As Poet Laureate of Britain from 1850 until his death, he became the voice of the nation, and his works were revered by both the intellectual elite and the general public.

Famous Poems:

Some of Tennyson’s most famous works include:

• "In Memoriam": This long poem is one of his most celebrated works, dealing with grief, faith, and the search for meaning in a world that was being transformed by scientific discovery.
• "The Charge of the Light Brigade": A stirring account of the ill-fated charge during the Battle of Balaclava, this poem captures the themes of duty and bravery in the face of unquestioning loyalty.
• "Ulysses": A dramatic monologue in which the aging Ulysses reflects on his life and expresses a desire for continued adventure and purpose, embodying Victorian ideals of restless striving and unwavering ambition.
• "The Lady of Shalott": A lyrical ballad that explores themes of isolation, art, and fate through the story of a lady trapped in a tower, who can only view the world through a mirror.

Question : Pick a poem written by Robert Browning and discuss its thematic concerns.

Answer : 

Robert Browning’s poem “My Last Duchess” (1842) is a compelling dramatic monologue that explores themes of power, control, pride, and the objectification of others, particularly women. Here's an analysis of its thematic concerns:

1. Power and Control

The speaker, the Duke of Ferrara, narrates the poem as he shows a portrait of his late wife to an emissary. Through his monologue, it becomes evident that he exercises absolute control over his environment, including his wife’s memory. The Duke’s obsessive need to dominate is most chillingly demonstrated when he implies that he orchestrated the Duchess’s death for her perceived lack of submission:

“I gave commands;
Then all smiles stopped together.”

This statement reveals the Duke’s authoritarian mindset and his view of his wife as a possession rather than a partner.

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2. Objectification and Ownership

The Duke reduces the Duchess to a piece of art—a painting—over which he has complete control. Unlike the living Duchess, whose smiles and interactions he could not dictate, the painted version of her exists solely for his pleasure, silenced and still:

“There she stands
As if alive.”

This reveals the Duke’s preference for a woman who can neither challenge nor disappoint him, emphasizing the commodification of women and the erasure of their individuality.

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3. Jealousy and Insecurity

Despite his lofty status, the Duke exhibits deep insecurity. He is unable to tolerate the Duchess’s joy or the idea that her smiles could be directed at others. His jealousy stems from a fear of losing control, as he interprets her affability as a personal affront:

“She had
A heart—how shall I say?—too soon made glad,
Too easily impressed.”

This portrays a deeply flawed character, incapable of understanding or appreciating genuine human warmth and spontaneity.

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4. Art as a Symbol of Power

Throughout the poem, Browning juxtaposes art and life. The Duke’s collection of art, including the portrait of his late wife, symbolizes his wealth and cultural refinement. Yet, his treatment of the Duchess reveals the sinister ways he uses art to assert dominance. The poem critiques the misuse of art and culture to mask cruelty and authoritarianism.

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5. The Danger of Hubris

The Duke’s pride and arrogance are central to the poem. He narrates his actions without remorse, displaying a chilling detachment. His hubris blinds him to his moral failings, reinforcing the theme of unchecked power leading to corruption.

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Conclusion

“My Last Duchess” serves as a critique of patriarchal dominance and the dehumanization inherent in viewing people as possessions. Browning masterfully uses the Duke’s monologue to unravel layers of character, revealing how power, pride, and jealousy can distort human relationships. The poem remains a timeless exploration of the dark side of power and control.

Pamela- Virtue Rewarded

Pamela-Virtue Rewarded 

Question : What do you understand by the term Realism? Discuss the realistic elements present in the narrative of Richardson's Pamela-Virtue Rewarded.

Answer : 

Realism is a literary and artistic movement that emerged in the mid-19th century as a response to the idealized depictions of life in earlier forms of art, such as Romanticism. Realism seeks to represent subjects in a truthful, objective, and unembellished manner, focusing on the everyday lives of ordinary people. In literature. 

Realism in Richardson's Pamela, or Virtue Rewarded (1740):

Though Pamela was written before the height of the Realist movement, it contains several elements that align with the principles of Realism, especially in terms of social dynamics, character psychology, and the portrayal of virtue in everyday life.

1. Social Class and Morality: The novel explores class differences, focusing on Pamela, a servant, and her interactions with the wealthy Mr. B, highlighting social mobility and moral choices.
2. Psychological Realism: Pamela’s inner thoughts and emotions are deeply explored, especially her struggle to maintain virtue while dealing with Mr. B's advances.
3. Depiction of Everyday Life: The novel details the mundane routines and domestic life of a servant, offering a realistic portrayal of daily existence.
4. Social Critique: Through Pamela's moral challenges and Mr. B's transformation, the novel subtly critiques the societal treatment of women and class inequalities.

Question : Comment on the use of letters as a medium of narrating the plot of the novel. Do you like reading an epistolary novel, or do you find yourself wishing you had a third person narrator to have clarity and objectivity in the narration?

 Answer :

The use of letters as a medium in Richardson's Pamela, or Virtue Rewarded is central to the structure of the novel. It’s an epistolary novel, meaning it’s told through a series of letters written by the protagonist, Pamela, to her parents.

As for whether one prefers the epistolary form or a third-person narrator, it depends on personal taste. Some readers enjoy the intimacy and immediacy of an epistolary novel, feeling more connected to the character’s emotions and thoughts. Others may wish for the clarity and objectivity of a third-person narrator, which can provide a fuller, more detached view of events and characters, ensuring more direct understanding and insight into the story.

Personally, the epistolary format can be compelling for its emotional depth and personal connection, but I can understand the appeal of a third-person narrator for those who seek a broader, more objective perspective on the plot and characters. It ultimately depends on whether you enjoy subjective storytelling or prefer the clarity and control that a third-person perspective can provide. 

Question : Discuss the character portrayal of the servants of the B household apart from Pamela. [Include Mrs. Jervis, Mrs. Jewkes, and John]

Answer :

1) Mrs. Jervis

In Pamela, or Virtue Rewarded, the portrayal of the servants in Mr. B’s household reveals various facets of social class, morality, and human behavior. Mrs. Jervis, the housekeeper, stands as a moral and protective figure for Pamela. She offers guidance and advice, warning Pamela about the dangers of Mr. B’s advances while serving as a maternal figure within the household. Mrs. Jervis represents the possibility of moral integrity and compassion within the servant class, contrasting sharply with other characters. Her loyalty and respectability make her a role model for Pamela, offering a vision of how servants could maintain their dignity and virtue despite their social status.

2) Mrs. Jewkes

On the other hand, Mrs. Jewkes, the maid in charge of Pamela’s confinement at Mr. B’s country estate, is a more sinister character. Ruthless and manipulative, Mrs. Jewkes actively works to break Pamela’s virtue and fulfill Mr. B’s desires. She is an embodiment of the darker side of servitude, where power, greed, and personal gain corrupt the individual. Unlike Mrs. Jervis, Mrs. Jewkes uses her position for exploitation, acting as an antagonist to Pamela's moral struggle and representing the corrupting influence of power within the servant class.

3) Mr. John Andrews

John, the young footman, plays a less significant role in the novel but provides an important contrast to the other servants. He is a passive, neutral character who does not actively participate in the major moral conflicts of the story. Although he helps Pamela at times, his role is largely one of following orders and staying out of the more complex dynamics within the household. John’s character represents the more passive, less involved members of the servant class who do not challenge the status quo or engage in the power struggles that define the main characters' lives.

Thank You !

 Assignment - 4 :  The Letter Killeth in Jude the Obscure :

This blog is part of an assignment for the paper 104 - Literature of the Victorian Periods, Sem - 1, 2024

Table of Contents :

• Personal Information

• Assignment Details

• Introduction

• Jude’s Loneliness and Isolation

• Jude’s Obsession with Knowledge and Texts

• The Reality of Christminster and Jude’s Disappointment

• Sue Bridehead and the Shared Obsession with Books

•  The Death of Meaning and the Letter That “Killeth”

• Hardy’s Frustration with the Limits of Novels

• Conclusion

• References

Personal Information :

Name:- Bhumi Mahida

Batch:- M.A. Sem 1 (2024-2026)

Enrollment Number:- 5108240017

E-mail Address:- bhumimahida385@gmail.com

Roll Number:- 03

Assignment Details :

Topic:-  The Letter Killeth in Jude the Obscure

Paper & subject code:- 104 - Literature of the Victorian Periods 

Submitted to:- Smt. S.B Gardi, Department of English, MKBU, Bhavnagar 

Date of Submission:- 20th November, 2024

About Assignment:- In this assignment i define the meaning of Letter Killeth in Jude the Obscure by Thomas Hardy.

Introduction :

Jude the Obscure by Thomas Hardy is a novel that explores the struggles of a young man named Jude Fawley, who dreams of achieving greatness through education. Jude believes that knowledge will help him escape his poor background, but his story is one of heartbreak and disappointment. In his article “The Letter Killeth: The Text as Fetish in Jude the Obscure,” Thierry Goater explores how Jude’s life is shaped by his obsession with texts, books, and signs. Goater argues that Jude’s extreme respect for texts becomes a “fetish” that harms him, and he also suggests that Hardy himself, through Jude, expresses his own frustration with storytelling and the expectations of readers. This essay will discuss Jude’s loneliness, his fixation on books and knowledge, his disappointing experiences in Christminster, and Hardy’s complex relationship with the form of the novel itself.

Through these themes, Jude the Obscure offers a warning about worshipping words or signs too strictly and shows that books alone cannot solve life’s problems.

Jude’s Loneliness and Isolation :

Jude Fawley’s life begins in loneliness, setting the stage for his lifelong search for meaning. As a young boy, Jude is orphaned, and he grows up in Marygreen, a poor, rural village with few opportunities for advancement. Goater describes Jude’s early life as a “metaphysical exile,” which means Jude feels deeply separate from others and cut off from any sense of greater purpose. This loneliness and separation are shown clearly in the novel’s opening scenes, where Jude walks alone through empty fields, observing the world around him. He feels like he has no connection to this place, saying, “How ugly it is here!” Hardy’s description of the landscape around Jude—misty, brown, and lifeless—reflects the emptiness Jude feels inside.

This sense of alienation is not just physical; it is also emotional and spiritual. Jude feels lost in a world that does not give him any real purpose or direction. He is drawn to the idea of education and the possibility of a better life because he believes that learning will help him escape this feeling of emptiness. Jude’s longing for something greater makes him dream of Christminster, a university town that he imagines as a place of wisdom, beauty, and purpose. To Jude, Christminster seems like a “heavenly Jerusalem,” a place where he believes he will find happiness and meaning. His dream of Christminster becomes his escape from the loneliness he feels in Marygreen.

Jude’s isolation and longing for meaning lead him to place his hopes entirely on the idea of Christminster and education, thinking that these things will fill the emptiness in his life. This desire to find a greater purpose becomes the driving force behind his actions, but it also sets him up for disappointment when reality does not match his dreams.

Jude’s Obsession with Knowledge and Texts :

Jude’s desire for knowledge quickly becomes more than just a goal—it becomes an obsession. He believes that if he learns enough, he will rise above his humble background and be accepted in a world of higher learning and respect. Goater explains that Jude’s obsession with knowledge is almost religious, as if books and learning are a type of salvation for him. This obsession begins when Jude decides to teach himself Greek, Latin, and even Hebrew. He believes that by reading the great classical works, he will gain the wisdom and respect he so desperately wants.

To Jude, books are not just tools for learning; they are symbols of everything he wants in life. He becomes fascinated with authors like Homer, Virgil, and Horace, who represent the high culture of Christminster. This intense respect for books and knowledge gives Jude hope, but it also blinds him to the difficulties of achieving his dream. He assumes that if he reads enough, he will be accepted into Christminster’s intellectual community. However, he does not fully understand that his background, social class, and lack of connections will still be major barriers.

This devotion to learning, which Goater calls “the idolatry of signs,” means that Jude treats books almost like sacred objects. He believes they have the power to lift him out of his circumstances and give him a new life. However, Jude’s focus on learning classical languages and reading famous texts reveals his unrealistic expectations. Instead of seeing education as a journey, Jude views it as an answer to all his problems. This unrealistic view of knowledge will lead to his eventual heartbreak when he realizes that books alone cannot change his life.

The Reality of Christminster and Jude’s Disappointment :

When Jude finally arrives in Christminster, he finds that the reality does not match his idealized vision. Christminster is not the “heavenly Jerusalem” he dreamed of but a place that is unwelcoming to people like him. Goater describes Christminster as a place that values old traditions and excludes those who are poor or from lower social classes. For Jude, who imagined Christminster as a city of wisdom and openness, this realization is devastating. The intellectual elite in Christminster see him as unworthy, and he is made to feel foolish and out of place.

This gap between Jude’s dreams and the reality of Christminster is a major turning point in the novel. When Jude tries to impress a group of students by quoting Latin, they laugh at him, highlighting the divide between his self-taught knowledge and the privileged education they have received. This moment shows Jude that he may never be accepted into this world, no matter how hard he tries. Hardy uses this scene to illustrate the class barriers in society that prevent people like Jude from rising above their circumstances, even if they have talent and determination.

Christminster, then, becomes a symbol of Jude’s broken dreams. It represents the false promise of social mobility through education, showing that in Hardy’s world, people are often judged more by their class than by their abilities. This experience deepens Jude’s feeling of isolation, as he realizes that his obsession with knowledge has not brought him closer to acceptance but has instead emphasized the barriers between him and the world he wishes to join.

Sue Bridehead and the Shared Obsession with Books :

In Christminster, Jude reconnects with his cousin Sue Bridehead, who shares his love of books and culture. Like Jude, Sue also has an intense respect for knowledge and classical texts. However, for both of them, this love of books becomes a barrier rather than a bridge to real human connection. Goater describes their fascination with texts as a type of “literary fetishism,” meaning that they treat books as if they have magical power or can replace personal relationships.

Jude idealizes Sue, seeing her as the perfect woman partly because of her knowledge and love of books. He views her as a kindred spirit, someone who can understand his dreams and share his intellectual passions. When he first sees a photograph of her, he thinks of her almost as a saint. This idealization prevents Jude from seeing Sue as a real person with her own feelings and flaws. Their relationship is marked by frequent quotations and references to classical works, which makes their interactions seem formal and distant.

Sue’s and Jude’s reliance on books and quotes shows their difficulty in connecting on a personal level. Rather than using words to share their true feelings, they use literature as a way to keep their distance. This inability to communicate honestly creates problems in their relationship and prevents them from finding true happiness. In the end, their shared obsession with texts and knowledge only isolates them further, highlighting Hardy’s warning about the dangers of idolizing books over real human experiences.

The Death of Meaning and the Letter That “Killeth” :

Hardy’s choice of epigraph, “The Letter Killeth,” becomes a poignant reflection of the fate awaiting Jude, who clings to textual signs rather than human understanding or connection. As Goater notes, the repeated invocation of the text—whether in Jude’s Latin recitations or in the scripture he carves into stone—signifies an almost desperate attachment to the "letter" of texts, which ultimately fails to bring fulfillment or answers.

Jude’s eventual death, still clutching his beloved books, symbolizes his utter absorption in and ultimate failure with the fetishization of text. On his deathbed, surrounded by a Bible and classical texts, he remains unable to let go of his belief that these words contain salvation. Hardy uses this scene to underscore the novel’s critique of a society that upholds the written word as an ultimate truth without recognizing the limitations of such an approach. Jude’s dying recitation from the Book of Job captures his enduring faith in knowledge but also underscores the futility of his lifelong devotion.

Hardy’s Frustration with the Limits of Novels :

Goater suggests that Hardy’s own frustrations with writing novels are reflected in Jude the Obscure. Hardy’s decision to stop writing novels after Jude the Obscure reflects his dissatisfaction with the limitations of the novel form. He felt that novels were too restricted by readers’ expectations and social norms, which limited his ability to explore complex ideas. Goater argues that, like Jude, Hardy may have felt trapped by these restrictions, which is why he chose to focus on poetry, a form he saw as freer and less bound by convention.

In Jude the Obscure, Hardy uses Jude’s obsession with texts to critique the limitations of language and novels in capturing the full complexity of human experience. Jude’s tragic end symbolizes Hardy’s own struggle with the constraints of storytelling, suggesting that novels alone may not be enough to express deeper truths. This shift from novels to poetry allowed Hardy to explore new ideas and themes without being limited by readers’ expectations.

Conclusion :

Through Jude’s story, Hardy criticizes society’s empty praise of knowledge and tradition and warns against worshipping books and texts without understanding their true meaning. Thierry Goater’s article helps us understand how Hardy uses Jude’s obsession with books to show the limits of language and learning in giving life meaning. Jude’s life, filled with disappointment and loneliness, ultimately suggests that true understanding comes not from words alone but from connecting deeply with others and the world around us. By telling Jude’s story, Hardy also reflects his own struggle with the novel form, and his move toward poetry after Jude the Obscure marks a new path for expressing his ideas about life and human nature.

References :

Goater, Thierry. “The Letter Killeth’: The Text as Fetish in ‘Jude The Obscure.’” The Hardy Review, vol. 10, no. 2, 2008, pp. 129–37. JSTOR, http://www.jstor.org/stable/45300346. Accessed 10 Nov. 2024.

---. “Jude the Obscure | Thomas Hardy, Victorian England, Tragedy.” Encyclopedia Britannica, 12 Apr. 2011, www.britannica.com/topic/Jude-the-Obscure.

  

           Words Count : 1934

           Images : 03

 Assignment - 2 : Satire and Religious context in A Tale of A Tub : 

This blog is part of an assignment for the paper 102 - Literature of the Neo-Classical Periods, Sem - 1, 2024

A Tale of a Tub

Table of Contents : 

• Personal Information

• Assignment Details

• Introduction

• Historical and Religious Context

• Allegorical Characters and Structure in A Tale of a Tub

• Hypocrisy in Religion and Satire in A Tale of a Tub

• Swift’s Satirical Techniques in A Tale of a Tub

• Swift’s Message and Legacy

• Conclusion

• References

Personal Information :

Name:- Bhumi Mahida

Batch:- M.A. Sem 1 (2024-2026)

Enrollment Number:- 5108240017

E-mail Address:- bhumimahida385@gmail.com

Roll Number:- 03

Assignment Details :

Topic:- Satire and Religious context in A Tale of A Tub 

Paper & subject code:- 102 - Literature of the Neo-Classical Periods 

Submitted to:- Smt. S.B Gardi, Department of English, MKBU, Bhavnagar 

Date of Submission:- 20th November, 2024

About Assignment:- In this assignment i define the Satire and Religious conflict in the context of A Tale of a Tub.

Introduction :

Jonathan Swift, a well-known satirist and Anglican clergyman, wrote A Tale of a Tub to reveal the flaws and hypocrisy he saw in religious institutions during his time. In this satirical work, Swift criticizes not only the Catholic Church but also the extreme Protestant groups, using humor and symbolic characters to explore the conflicts and inconsistencies within Christianity. During the 17th and early 18th centuries, people faced many religious divisions, and Swift believed that these religious groups had moved away from the original values of Christianity. A Tale of a Tub uses the characters Peter, Martin, and Jack to represent the Catholic, Anglican, and Puritan churches, allowing Swift to illustrate how each institution deviated from true Christian teachings due to hypocrisy and ambition.

Historical and Religious Context : 

The religious environment in England during Swift's time was filled with conflict. Different groups, including Catholics, Anglicans, and Puritans, had competing beliefs and practices. Swift was a clergyman in the Anglican Church, which influenced his view on religion. He valued moderation and believed that religion should promote moral values rather than personal ambitions.

Swift wanted to defend Anglicanism against the extremes he saw in other religious groups. He believed that true Christianity was simple and honest but that people had corrupted it to fit their desires and ambitions. This belief led him to create a satire that could make people laugh while also making them think critically about the role of religion in society​. 

Allegorical Characters and Structure in A Tale of a Tub :

Swift uses the characters of three brothers—Peter, Jack, and Martin—to represent the main branches of Christianity. Their father’s will symbolizes the Bible, and the coats he leaves them represent Christian faith. The will instructs the brothers to keep their coats in their original form, but each brother eventually changes his coat, showing how each religious group adapted the Bible’s teachings for their own purposes.

• Peter represents the Catholic Church and its connection to the apostle Peter. Peter’s character is full of pride and a desire for control, often using manipulation to keep power over others. Swift portrays Peter as greedy and power-hungry, willing to change the teachings to fit his needs.

• Jack represents Puritanism. He is strict, rejecting anything he considers unnecessary or sinful. Jack becomes so focused on following rules that he forgets the core message of love and kindness in Christianity. His extreme behavior shows how Puritans often went too far in rejecting traditional practices.

• Martin represents the Anglican Church and Martin Luther, the founder of the Protestant Reformation. Martin is portrayed as the most moderate and reasonable brother, but even he makes compromises. Swift gently criticizes the Anglican Church for its tendency to adapt to society’s demands rather than staying true to its principles. 

Hypocrisy in Religion and Satire in A Tale of a Tub :

Swift uses satire to reveal religious hypocrisy. He especially criticizes how religious institutions prioritize power and wealth over true faith. Each brother in A Tale of a Tub alters the father’s will to fit his desires, showing how churches often change teachings for convenience.

Catholic Church Critique (Peter’s Hypocrisy)

1. Peter’s character embodies the corruption and greed Swift saw in the Catholic Church. Peter claims he has authority over everyone, but he uses this power selfishly. For instance, Peter sells indulgences, offering pardons for sins if people pay him money. This practice reflects how the Catholic Church sometimes sold forgiveness, a clear example of religious hypocrisy. Peter even tricks his followers into believing simple bread is high-quality meat, showing how religious leaders can deceive people.
2. Jack represents the Puritans, who rejected the Catholic Church’s rituals. However, in his attempt to be different, Jack becomes overly strict. He angrily strips away any decoration from his coat, thinking this will make him pure. This extreme behavior highlights the Puritan focus on strictness rather than compassion. Swift shows that by focusing too much on rules, Puritans could become judgmental, forgetting the kindness and forgiveness that Christianity teaches.
3. Martin, the Anglican representative, tries to balance between Peter and Jack. He removes some decorations from his coat but does so moderately. Martin’s character shows the Anglican Church’s tendency to compromise, which can weaken its principles. Swift respected the Anglican Church but believed it sometimes made too many concessions to avoid conflict. This flexibility might keep people happy but can lead to a diluted version of true faith.

Swift’s Satirical Techniques in A Tale of a Tub :

Allegory and Symbolism
By using the characters of Peter, Jack, and Martin as symbols, Swift shows how religious institutions stray from true teachings. The coats and the will are symbols of faith and guidance, with each brother’s alteration of his coat representing a shift from the original teachings.

Irony and Humor
Swift’s irony is sharp. For example, Peter’s insistence that bread is meat mocks the idea of blind faith and shows how ridiculous some religious practices appear. By using absurdity, Swift forces readers to question whether religious leaders are truly honest.

Direct Satire in the “Apology”
In the “Apology” section of A Tale of a Tub, Swift addresses criticisms directly. Here, he claims he never meant to insult the Anglican Church but wanted to criticize the foolishness he saw in all churches. This statement is part of his satirical approach, as he uses humor to reveal the deeper message that all institutions are flawed

Swift’s Message and Legacy : 

Through A Tale of a Tub, Swift sends a strong message about the need for genuine faith. He argues that the problem is not with Christianity but with human tendencies toward corruption and greed. Swift encourages readers to return to the simple, honest values of Christianity and avoid blindly following leaders who might exploit them.

Lasting Impact of A Tale of a Tub Swift’s satire was controversial, especially among church leaders, who saw it as an attack on religion. However, the popularity of A Tale of a Tub showed that many people resonated with Swift’s message. By exposing the hypocrisy in religious institutions, Swift inspired readers to think critically about who they trusted to guide their faith.

Conclusion : 

In A Tale of a Tub, Jonathan Swift uses satire to reveal the problems he saw in Christianity, focusing on how each branch failed in different ways. Through the characters of Peter, Jack, and Martin, Swift represents Catholicism, Puritanism, and Anglicanism, showing how each of these groups moved away from the simplicity and honesty of Christ’s teachings. Peter, who represents the Catholic Church, falls into corruption and greed, caring more about power and wealth than true faith. Jack, a symbol of Puritanism, becomes so extreme and strict in his beliefs that he loses sight of the compassion and humility that Christianity teaches. Martin, who represents the Anglican Church, tries to stay moderate but ends up compromising too much, weakening the core values of faith.

Swift’s satire is powerful because it uses humor and exaggeration to point out these flaws in a way that is both entertaining and thought-provoking. Instead of directly attacking, he allows readers to see the hypocrisy through the foolish actions and words of his characters. Swift’s message is clear: religion should not be about power, extreme beliefs, or bending the rules for convenience. He challenges people to seek a faith that is genuine, free from corruption, and rooted in true Christian teachings.

References :

Peterson, Leland D. “Swift’s Project: A Religious and Political Satire.” PMLA, vol. 82, no. 1, 1967, pp. 54–63. JSTOR, https://doi.org/10.2307/461047. Accessed 9 Nov. 2024.

Tazegüney, Nilüfer Akın. “Religious Hypocrisy in Jonathan Swift’s A Tale of a Tub.” www.academia.edu, Jan. 2016, www.academia.edu/20188301/Religious_Hypocrisy_in_Jonathan_Swifts_A_Tale_of_a_Tub.

The Editors of Encyclopaedia Britannica. “A Tale of a Tub by Swift | Summary and Facts.” Encyclopedia Britannica, 19 Oct. 2011, www.britannica.com/topic/A-Tale-of-a-Tub-prose-satire-by-Swift.

Word counts : 1545

Images :02

 Assignment - 3 :  Mortality and Immortality: The Contrasts of Life and Death in Keats’s Poetry :

This blog is part of an assignment for the paper 103 - Literature of the Romantic Periods, Sem - 1, 2024

Table of Contents :

• Personal Information

• Assignment Details

• Introduction

• Keats’s Personal Struggles with Mortality

•  “Ode to a Nightingale” and the Contrast Between Life and Death

•  “Ode on a Grecian Urn” and the Immortality of Art

• Endymion and the Desire for Eternal Beauty

•  “When I Have Fears That I May Cease to Be” and the Fear of Death

• Conclusion

• References

Personal Information : 

Name:- Bhumi Mahida

Batch:- M.A. Sem 1 (2024-2026)

Enrollment Number:- 5108240017

E-mail Address:- bhumimahida385@gmail.com

Roll Number:- 03

Assignment Details :

Topic:-  Mortality and Immortality: The Contrasts of Life and Death in Keats’s Poetry 

Paper & subject code:- 103 - Literature of the Romantic Periods 

Submitted to:- Smt. S.B Gardi, Department of English, MKBU, Bhavnagar 

Date of Submission:- 20th November, 2024

About Assignment:- In this assignment i define the contrast between life and death in john Keats's poetry.

Introduction :

 John Keats, one of the leading figures of the Romantic movement, is perhaps best known for his profound exploration of the human condition, particularly themes of mortality and immortality. Living through the early death of both his parents and suffering from his own fatal illness (tuberculosis), Keats was acutely aware of the brevity of life. His work reflects this existential awareness, and his poignant reflections on life and death resonate deeply with readers. Keats’s confrontation with mortality becomes a central theme in his poetry, in which he grapples with the desire for immortality through beauty, art, and nature. His engagement with death and the yearning for permanence in the face of mortality form a complex dialogue within his verse, offering profound insights into the human spirit.

Keats’s personal struggles with illness are intrinsically linked to his treatment of death in his poetry. His early death at 25 (in 1821) lends his exploration of mortality a raw, immediate poignancy. He often weaves together the themes of the fleeting nature of life, the inevitability of death, and the possibility of achieving immortality through the timeless beauty of art and nature. This paper will examine how Keats confronts the themes of mortality and immortality in his works, with a particular focus on his awareness of personal mortality, his quest for beauty, and his contemplation of art as a vehicle for transcendence. Through a close reading of several of his key poems, we will explore how Keats intertwines the concepts of life, death, and immortality, ultimately offering an intimate and philosophical perspective on human existence.

Keats’s Personal Struggles with Mortality :

Keats’s own life was marked by an acute awareness of the transience of existence. Born in 1795, Keats lost his father at the age of eight and his mother when he was just 14. Both deaths were traumatic, leaving Keats with a profound sense of loss that would resonate throughout his life and work. In his youth, Keats was filled with a sense of vitality, eager to experience the world’s pleasures, but the early deaths of those he loved left him deeply aware of mortality.

By the time Keats was diagnosed with tuberculosis in 1819, he had already witnessed the devastation of death firsthand. In his letters to friends and family, he frequently expressed his fears about his own future, writing with a sense of inevitability about his decline. One of his most famous reflections on this subject comes in a letter to his brother George, where Keats writes: “I am certain of nothing but the holiness of the heart's affections, and the truth of the imagination” (Letters, 1819). These words encapsulate Keats’s inner conflict: his deep belief in the power of human love and the mind’s imaginative capacity to transcend earthly limitations, while simultaneously acknowledging the fragility of the human body.

Keats’s awareness of his own mortality deepens his commitment to creating art, which he believes offers a way to transcend the physical limits of his body. In a letter to his friend Benjamin Bailey, Keats reflects on the inevitable decline of the body: “The body is a house of disease, the soul is a prison” (Letters, 1817). These early expressions of mortality, coupled with his growing sense of time running out, give rise to a complex and multifaceted engagement with themes of immortality. In this context, Keats’s poetry becomes a means to explore the delicate balance between the ephemeral nature of life and the hope for transcendence through art, beauty, and love.

 “Ode to a Nightingale” and the Contrast Between Life and Death :

 One of Keats’s most iconic poems, “Ode to a Nightingale”, delves into the contrasting forces of life and death, offering a meditation on human mortality and the longing for immortality. In this ode, Keats juxtaposes the ephemeral nature of human existence with the perceived immortality of the nightingale, a bird that symbolizes eternal beauty and transcendence. The nightingale, by virtue of its song, represents a form of art that exists beyond time and human decay. Keats expresses a desire to escape the limitations of his mortal body and become one with the bird’s eternal voice.

The poem opens with the speaker hearing the nightingale’s song, which seems to carry him away from the earthly world and into a timeless realm. The bird’s song contrasts with the poet’s own human experience, which is tied to suffering and mortality:

“Thou wast not born for death, immortal Bird!
No hungry generations swarm around thee;
All this is older than the flow'ring mead,
All this hath been, and is, and will be, and will be.”

In these lines, Keats’s speaker contrasts the immortality of the bird’s song with the fleeting nature of human life. The nightingale, untouched by death, stands in opposition to the poet’s mortality. The poem reveals Keats’s fascination with the idea of an immortal, eternal existence—one that is unbounded by time or the decaying body. Yet, this desire for immortality is also tempered with the recognition that such an ideal is unattainable for the human being.

As the speaker contemplates his own mortality, he begins to grapple with the notion that immortality may only be achieved through art. The nightingale’s song, though transient, becomes immortalized in the poet’s imagination. This gives Keats a sense of comfort, as he realizes that while the bird itself may die, the song lives on in the mind of the poet, thus granting a form of immortality through art.

“Ode on a Grecian Urn” and the Immortality of Art :

Another key poem in which Keats explores the contrast between mortality and immortality is “Ode on a Grecian Urn”. The urn in this poem symbolizes the permanence of beauty and art in contrast to the fleeting nature of human existence. The scenes depicted on the urn are frozen in time, offering an idealized vision of life that is beyond the ravages of time and decay. The urn represents an eternal state of perfection, unchanging and untouched by the passage of years.

The speaker in the poem marvels at the urn’s depiction of beauty, capturing moments that seem to transcend the temporal world. He addresses the urn as “Thou still unravish'd bride of quietness, / Thou foster-child of Silence and slow Time” (“Ode on a Grecian Urn”, 1819), emphasizing the urn’s power to preserve beauty and meaning long after its creators and their world have perished. The urn, through its portrayal of idealized scenes of life, offers a form of immortality that is inaccessible to the human being.

However, Keats also grapples with the tension between art’s immortality and the impossibility of fully experiencing the life it depicts. The urn, though eternal, holds moments of life that are forever frozen, and the speaker laments that the figures on the urn can never know the fulfillment of their desires:

“Thou canst not kiss, nor ever bid the Spring
Return, thou canst not leave thy song, nor ever
Take a turn upon the dance-floor, the nightingale
Cannot be heard in heaven.”

The urn offers immortality in its perfection, but at the cost of the fullness of human experience—of passion, aging, and death. While the urn preserves moments of beauty and vitality, it also renders them static and devoid of the dynamism of life. This paradox underscores the limits of art’s capacity to fully capture the lived experience of human beings. Nevertheless, Keats’s meditation on the urn highlights his belief in the possibility of immortality through art, even if it is imperfect and incomplete.

Endymion and the Desire for Eternal Beauty :

 In Keats’s narrative poem Endymion (1818), the protagonist’s quest for the goddess Diana represents the human yearning for eternal beauty and the idealized concept of immortality. The poem explores the tension between the temporal nature of human life and the desire for a form of permanence. Endymion’s journey to find Diana symbolizes the universal search for eternal love, beauty, and transcendence.

One of the key lines in Endymion—“A thing of beauty is a joy forever: / Its loveliness increases; it will never / Pass into nothingness” (Endymion, 1818)—encapsulates Keats’s belief in the power of beauty to offer a kind of immortality. Beauty, for Keats, is an ideal that transcends the limitations of time, serving as a source of solace in the face of mortality. The poem’s focus on beauty as a source of eternal joy reflects Keats’s desire to capture and preserve moments of perfection in art, thereby granting them immortality.

However, just as with the urn and the nightingale, Endymion grapples with the tension between the pursuit of immortality and the inevitability of human imperfection. Endymion’s quest, while noble and sincere, ultimately cannot escape the frailty of human nature. The poem, thus, serves as a meditation on the paradox of immortality: the pursuit of eternity is often bound to the limitations of time and the human body.

 “When I Have Fears That I May Cease to Be” and the Fear of Death :

In the sonnet When I Have Fears That I May Cease to Be (1818), Keats directly addresses his anxiety about dying young and leaving his potential unfulfilled. The poem reveals his fear of not having enough time to accomplish everything he hopes for—particularly, the desire to write and create. He writes:

“When I have fears that I may cease to be
Before my pen has gleaned my teeming brain,
Before high-piled books, in charactery,
Hold like rich garners the full ripened grain.”

Here, Keats expresses a profound fear of mortality, as he is acutely aware that his life may end before he has the opportunity to fully realize his artistic potential. Yet, even in the face of this fear, the poem also reflects Keats’s belief in the possibility of immortality through the written word. The act of writing allows Keats to transcend death, offering him a kind of permanence that death cannot destroy.

Conclusion : 

 Keats’s poetry presents a complex and deeply philosophical engagement with the themes of mortality and immortality. His personal experiences with illness and the specter of early death informed his exploration of these themes, allowing him to approach questions of existence with a unique sensitivity. Through poems like “Ode to a Nightingale”, “Ode on a Grecian Urn”, and “When I Have Fears”, Keats explores the duality between the transient nature of human life and the desire for something eternal—whether it be beauty, love, or art. Ultimately, while Keats’s poems reveal his longing for immortality, they also acknowledge the inherent limitations of human existence. Nevertheless, through his art, Keats achieves a form of immortality that allows his voice to echo through time, resonating with readers long after his death.

References : 

Hough, Graham Goulder. “John Keats | Biography, Poems, Odes, Philosophy, Death, and Facts.” Encyclopedia Britannica, 29 Oct. 2024, www.britannica.com/biography/John-Keats.

  “John Keats: ‘Ode on a Grecian Urn.’” The Poetry Foundation, 11 June 2024, www.poetryfoundation.org/articles/145240/john-keats-ode-on-a-grecian-urn.

“---.” The Poetry Foundation, 22 June 2024, www.poetryfoundation.org/poems/44479/ode-to-a-nightingale.

      

        “When I have Fears That I May Cease to Be.” The Poetry Foundation, 22 June 2024, www.poetryfoundation.org/poems/44488/when-i-have-fears-that-i-may-cease-to-be.

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 Assignment - 1 : Gender and Narrative in the Fiction of Aphra Behn 'The Rover' :

This blog is part of an assignment for the paper 101 - Literature of the Elizabethan and Restoration Periods, Sem - 1, 2024

The Rover

Table of Contents : 

• Personal Information

• Assignment Details

• Introduction

• Historical and Cultural  Context

• Gender Representation in The Rover 

• Narrative Structure and its Gender Implications

• Feminist Reading of The Rover 

• Conclusion

• References  

Personal Information :  

Name:- Bhumi Mahida

Batch:- M.A. Sem 1 (2024-2026)

Enrollment Number:- 5108240017

E-mail Address:- bhumimahida385@gmail.com

Roll Number:- 03

Assignment Details : 

Topic:- Gender and Narrative in the Fiction.

Paper & subject code:- 101 - Literature of the Elizabethan and Restoration Periods 

Submitted to:- Smt. S.B Gardi, Department of English, MKBU, Bhavnagar 

Date of Submission:- 20th November, 2024

About Assignment:- In this assignment i define the Gender and Narrative in the Fiction of The Rover.

Introduction : 

Aphra Behn (1640-1689) was an English playwright, poet, and novelist, famous for being one of the first women to earn a living from writing in the English language. She is considered an important figure in English literature, especially in the Restoration period. Her play The Rover, written in 1677, is one of her best-known works and gives us a lot to think about when it comes to gender and social roles. In The Rover, Behn presents both male and female characters who struggle with the expectations society places on them based on their gender. The play mixes romance, comedy, and adventure, and we see how the characters deal with their desires, relationships, and the rules that try to control them.

Historical and Cultural  Context :

The Restoration Period
The play The Rover was written during the Restoration period, which began in 1660 when King Charles II returned to the throne after a time when England was ruled by Puritans. During this time, England saw big changes in culture and society. The court was known for its indulgence and enjoyment, with people often challenging the old, strict ideas of behavior. However, there were still clear differences between men and women, and social roles were rigidly defined. Women were expected to be obedient, modest, and focused on family life, while men had more freedom to express themselves sexually and socially.

Women Writers in the 17th Century
During the 17th century, most writers were men, and women had few opportunities to write professionally. Aphra Behn was an exception because she made a living from her writing. She was bold in her works, often writing about love, sex, and desire. The Rover reflects her interest in challenging the norms of her time, especially in how women were expected to behave. By writing about powerful and independent female characters, Behn showed that women could be as complex as men.

Gender Representation in The Rover :

In The Rover, the roles of both men and women are explored in different ways. The play shows how these characters deal with love, marriage, and their desires, and also how they are influenced by society's expectations of their gender.

Women in The Rover

1. Hellena – One of the central female characters in The Rover is Hellena, a young woman who is determined to have some freedom in her life. She does not want to marry the man her brother has chosen for her. Instead, she wants to explore love and desire on her own terms. Through Hellena, Behn challenges the idea that women should always be passive and obedient. Hellena’s adventurous spirit shows that women, too, can have desires and agency.

2. Angellica Bianca – Another important female character is Angellica Bianca, a courtesan who has a lot of power because of her beauty and sexual appeal. However, Angellica’s role in the play is also a commentary on the double standard for women. While Angellica is admired by the men around her, they also look down on her because of her profession. Behn uses Angellica’s character to show how women’s sexuality is often judged more harshly than men’s.

3. Florinda – Florinda is another main character who represents the more traditional view of women. She is expected to marry the man her father has chosen for her, and she is trapped in a situation where her personal wishes are ignored for the sake of her family’s honor. Her character shows the limitations placed on women during this time, where they had little say in who they married.

Men in The Rover

1. Willmore – Willmore is one of the male protagonists in the play. He is a carefree, adventurous man who enjoys life without worrying about the consequences. Willmore represents the idealized version of male freedom during the Restoration. He is able to pursue his desires without worrying about society's judgment, which contrasts with the restrictions placed on the female characters.

2. Blunt – Another male character is Blunt, who represents a less successful type of man. Blunt’s attempts to win women’s affection are often awkward, and his behavior shows the contrast between more confident men like Willmore and men who fail to understand women’s desires. Through Blunt, Behn also critiques the idea that men are always successful in their relationships with women.

Narrative Structure and its Gender Implications :

The way the story is told in The Rover also has important connections to gender. Behn uses the structure of the play to show the power dynamics between men and women.

Plot and Structure of The Rover
The play is full of mistaken identities, disguises, and misunderstandings. This structure allows characters to explore their desires without being immediately judged. The confusion that arises from disguises also shows how gender can be a flexible concept, with characters sometimes switching between male and female roles or expectations.

Disguise and Deception
In The Rover, women often use disguises to take control of their situations. For example, Hellena disguises herself to go after the man she loves, and Angellica uses her appearance to control the men who want her. These disguises give the women in the play more freedom, which reflects Behn’s view that gender roles are not fixed, but can be manipulated for personal advantage.

Language and Sexual Politics
The characters in The Rover often use language to gain power over each other. The male characters use their wit and charm to attract women, while the women use their own language to challenge the men and assert their desires. The way language is used in the play highlights the connection between gender and power. The women’s ability to speak and manipulate through words shows that they are not just passive objects but active participants in the sexual politics of the play. 

Feminist Reading of The Rover :

Aphra Behn’s The Rover has often been seen as a feminist work because it questions the traditional roles of women and men. The play gives female characters a voice and allows them to take charge of their own destinies.

Behn’s Feminist Voice
Behn was one of the first women writers to give her female characters complexity and independence. While some of the female characters in The Rover still follow traditional gender roles, others like Hellena and Angellica push back against these norms. They use their sexuality and wit to gain power and control over their lives, challenging the idea that women should simply follow the orders of men.

Conclusion :

In conclusion, Aphra Behn’s The Rover is a powerful examination of gender roles and societal expectations in the 17th century, where strict codes of conduct governed the behavior of men and women. Through her bold and complex characters, Behn brings attention to the limits and challenges that society imposes on both genders, as well as the small freedoms they manage to find. Women in The Rover, such as Hellena and Angellica, defy traditional expectations by actively pursuing their desires and questioning the restrictions placed on them. Hellena’s wit and determination to choose her own fate challenge the conventional idea of women as passive or obedient, while Angellica’s role as a courtesan complicates the view of women’s sexuality, revealing the double standards they face.

Meanwhile, male characters like Willmore represent the liberties granted to men and the consequences of their unchecked freedom. Through his roguish charm, Behn shows how male characters often benefit from social privileges that allow them to navigate relationships with fewer restrictions. The contrasting experiences of Behn’s characters highlight how gendered expectations shape their interactions, with both men and women struggling to negotiate their desires within the bounds of a restrictive society.

References : 

Pearson, Jacqueline. “Gender and Narrative in the Fiction of Aphra Behn.” The Review of English Studies, vol. 42, no. 165, 1991, pp. 40–56. JSTOR, http://www.jstor.org/stable/516920. Accessed 9 Nov. 2024.

---. “The Rover | Restoration Comedy, Comedy of Manners, Behn.” Encyclopedia Britannica, 29 Sept. 2011, www.britannica.com/topic/The-Rover.

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