Dryden as a critic

 John Dryden as a father of English criticism:

John Dryden is often referred to as the "father of English criticism" because of his significant contributions to literary criticism in the late 17th century. His critical works, particularly his essays and prefaces, played a crucial role in shaping the way literature was analyzed and evaluated during his time and for many years to come. Here are some reasons why Dryden is considered a key figure in the development of English literary criticism:

1. Introduction of Neoclassical Ideals: Dryden was a proponent of Neoclassical literary theory, which drew inspiration from the works of ancient Greek and Roman writers like Aristotle and Horace. He emphasized the importance of adhering to classical principles of unity, decorum, and verisimilitude in literature. His critical writings helped establish these Neoclassical ideals as the foundation for evaluating literary works.

2. "An Essay of Dramatic Poesy": One of Dryden's most famous critical works is "An Essay of Dramatic Poesy" (1668), in which he defended the use of rhyme in English drama, discussed the nature of tragedy and comedy, and offered insights into the art of writing for the stage. This essay was not only a defense of English drama but also a significant contribution to the theory of drama.

3. Prefaces and Prologues: Dryden wrote numerous prefaces and prologues to his own plays and translations. In these pieces, he often discussed the principles of good writing, the role of the poet, and the value of classical models. These prefaces served as important critical manifestos and influenced other writers of his time.

4. Translation and Adaptation: Dryden was known for his translations of classical works, such as Virgil's "Aeneid" and Juvenal's satires. Through these translations and adaptations, he introduced classical literature to English readers and demonstrated how to adapt foreign works to the English literary tradition, contributing to discussions about the relationship between translation and creativity.

5. Critical Authority: Dryden's status as a respected poet and playwright gave him considerable authority in matters of literary criticism. His opinions and judgments carried weight, and other writers often looked to him for guidance in matters of style, genre, and taste.

6. Influence on Later Critics: Dryden's critical principles had a lasting impact on English literary criticism. His ideas about the importance of clarity, balance, and reason in literature were echoed and developed by later critics, including Alexander Pope, Samuel Johnson, and the Augustans.

In summary, John Dryden's critical writings and his advocacy for Neoclassical ideals in literature earned him the title "father of English criticism." His works helped shape the way literature was analyzed and evaluated in the late 17th century and continued to influence English literary criticism for generations to come.

JOHN DRYDEN: AN ESSAY OF DRAMATIC POESY

John Dryden (1631-1700) was an English poet, critic, and playwright active in the second half of the 17th century. As a poet, Dryden is best known as a satirist and was England's first poet laureate in 1668. In addition to satires, Dryden wrote elegies, prologues, epilogues, odes, and panegyrics. His most famous poem is Absalom and Achitophel (1681). Dryden was so influential in Restoration England that the period was known to many as the Age of Dryden.

• Samuel Johnson calls John Dryden "the father of English criticism

• Sir Walter Scott calls John Dryden "Glorious John

An Essay of Dramatic Poesy

In this Essay, Dryden has put forward his criticism of dramatic poetry.

Occasion

In the summer of 1665 when Dryden and his wife fled plague-stricken London for the countryside taking along only a few books, the theatres had been re-opened for only a few years and there were exciting new critical ideas from France to be debated. There, in a quiet rustic setting, Dryden went fishing and wrote theory (An Essay of Dramatic Poesy), paraphrasing and quoting directly from Corneille's Prefaces that lay open on the desk. Never having been to France, Dryden knew the French dramatist's plays not from theatre, but from the study.

The Setting & Four Interlocutors

The essay begins with the scene where Four friends, Crites, Neander, Eugenius, and Lesidius are sailing to see a naval battle between the British and Dutch armies. These four characters of the essay are thought to have been related to four critics including Dryden himself. In between, they talk about the poetry which is going to be produced after the naval battle. 

Each one of the interlocutors represents a famous contemporary critic and Dryden himself as Neander or the New Man:

1. Crites: Sir Robert Howard

2. Eugenius: Lord Buckhurst or Charles Sackville

3. Lisedeius: Sir Charles Sedley 4. Neander: John Dryden

Dryden's Aim

In his address, "To the Reader" prefixed to the Essay, Dryden says that his aim was, "to vindicate the honour of our English writers, from the censure of those who unjustly prefer the French before them." However, the real aim is much wider than this. The Essay is also an

attempt to evolve the principles which ought to guide us in judging a play, as well as an effort to discover the rules which could help a dramatist in writing a good play.

The Essay is also a contribution to two current controversies:

1. The comparative superiority of the ancient and the modern . Dryden demonstrates the superiority of the moderns over the ancients, and also the superiority of contemporary (Restoration) English dramatists over the Elizabethan dramatists. 

2. The comparative merits and demerits of blank verse and rhyme for dramatic purpose. Dryden upholds the superiority of rhymed verse.

The Essay's Plan

The Essay handles five critical questions:

1. The relative merits of ancient and modern poets.

2. Whether the existing French school of drama is superior or inferior to the English.

3. Whether the Elizabethan dramatists were in all points superior to those of Dryden's time.

4. Whether plays are more perfect in proportion as they conform to the dramatic rules laid down by the ancients. 

5. Whether the substitution of rhyme for blank verse in serious plays is an improvement.

The Essay's Form

The Essay is written in the form of a Dialogue in the manner of Plato's Republic, and by his skillful handling of it, Dryden made it a popular literary form during the next seventy-five years.

The Critical Positions of the Interlocutors

Crites argues in favour of the ancients: they established the unities; dramatic rules were spelled out by Aristotle which the current-and esteemed-French playwrights follow; and Ben Jonson-the greatest English playwright, according to Crites-followed the ancients' example by adhering to the unities. 

Crites

1. He supports the ancients.

2. The Moderns are dependent upon the ancients. 3. The Moderns do not follow the three units.

4. The Ancients are the law-givers and they should be the models for other writers to follow.

Eugenius favours the moderns over the ancients, arguing that the moderns exceed the ancients because of having learned and profited from their example.

Eugene

1. Although the Moderns have profited from the Ancients, they now excel the ancients through their work.

2. The Ancients have not followed the unities.

3. The Ancients did not have any sense of the division of the play. 4. The Ancients plays lack originality.

5. The Ancients did not include emotions like Love in their plays.

Lisideius argues that French drama is superior to English drama, basing this opinion on the French writer's close adherence to the classical separation of comedy and tragedy. For Lisaius "no theatre in the world has anything so absurd as the English tragicomedy..." 

Lucideus

1. He favours French plays.

2. According to him, the French plays follow the unities properly. 3. Their plots are simple, not complicated like the English plots.

4. He criticizes the English plays for mixing tragedy and comedy. 

5. French plays are more authentic.

6. They prefer emotions over action/plots (violence) 

7. They write their dialogues in rhyming verse.

Neander favors the moderns but does not underestimate the ancients. He also favors English drama and has some critical things to say of French drama: "those beauties of the French poesy are such as will raise perfection higher where it is, but are not sufficient to give it where it is not: they are indeed the beauties of a statue, but not of a man."

Neander goes on to defend tragicomedy: "contraries, when placed near, set off each other. A continued gravity keeps the spirit too much bent; we must refresh it sometimes." Tragicomedy increases the effectiveness of both tragic and comic elements by 'way of contrast. Neander asserts that "we have invented, increased, -and perfected a more pleasant way of writing for the stage... tragicomedy."

Neander criticizes French drama essentially for its smallness: its pursuit of only one plot without subplots; its tendency to show too little action; its "servile observations of the unities...dearth of plot, and narrowness of imagination" are all qualities which render it inferior to English drama.

Neander extends his criticism of French drama - into his reasoning for his preference for Shakespeare over Ben Jonson. Shakespeare "had the largest and most comprehensive soul," while Jonson was "the most learned and judicious writer which any theater ever had." Ultimately, Neander prefers Shakespeare for his greater scope, his greater faithfulness to life, as compared to Jonson's relatively small scope and French/Classical tendency to deal in "the beauties of a statue, but not of a Man."

Neander

1. He supports the English plays.

2. Tragicomedy relieves our audiences from the viness of tragedy. 

3. Lisideius criticizes English Plays for showing violence or death on the stage. Neander defends this by saying that death is the ultimate reality and the English dramatists are only presenting a lively image of nature.

4. He criticizes French dialogues as being too cold and long to suit the taste of the English audience.

5. He defends the violation of the unities by the English dramatists by claiming that there is no harm in violating if the drama is fulfilling its purpose.

Crites objects to rhyme in plays: "since no man without premeditation speaks in rhyme, neither ought he to do it on the stage." He cites Aristotle as saying that it is, "best to write a tragedy in that kind of verse...which is nearest prose" as a justification for banishing rhyme, from the drama in favor of blank verse (unrhymed iambic pentameter). Even though blank verse lines are no more spontaneous than are rhymed lines, they are still to be preferred because they are "nearest nature": "Rhyme is incapable of expressing the greatest thought naturally, and the lowest it cannot with any grace: for what is more unbefitting the majesty of verse than to call a servant or bid a door be shut in rhyme?"

Neander responds to the objections against rhyme by admitting that "verse so tedious" is inappropriate to drama (and to anything else). "Natural" rhymed verse is, however, just as appropriate to dramatic as to non-dramatic poetry: the test of the "naturalness" of rhyme is how well-chosen the rhymes are. Is the sense of the verses tied down to, and limited by, the rhymes, or are the rhymes in service to, and an enhancement of, the sense of the verses?

The Main Points of Dryden's Essay

1. The appreciation of the worth of the striving, nature-imitating, large scope of tragicomedy and Shakespeare over the static perfection of the ideal-imitating Classical/French/Jonsonian drama.

2. A dramatic act is defined as " an imitation with the aim to delight and to teach, and is considered a just and lively image of human nature representing its passions and humours for the delight and

instruction of mankind." 3. The idea of decorum in the work of art is emphasized. 

Metaphysical poetry

 Metaphysical poetry, it's history and Samuel Johnson as a metaphysical poet 

Hello everyone......

This lesson based on the metaphysical poetry.

It includes the points like , 

1) History of Metaphysical Poetry 

2) Who Were the Metaphysical Poets?

3) Characteristics of Metaphysical Poetry

4) Examples of Metaphysical Poem

5) Samuel Johnson - Metaphysical Poets

What is Metaphysical poetry ?

Metaphysical poetry is a poetic movement that emerged in the 17th century, primarily in England, and is characterized by a complex and intellectual style that explores profound and abstract ideas, often delving into themes related to spirituality, love, human nature, and the relationship between the physical and metaphysical realms.

Key features of metaphysical poetry include:

 

1. Conceit: Metaphysical poets often used elaborate conceits, which are extended metaphors or analogies that draw unexpected comparisons between seemingly unrelated objects or ideas. These conceits were used to explore complex concepts.

2. Intellectual Exploration: Metaphysical poets were known for their intellectual approach to poetry. They engaged in philosophical and theological discussions within their poems, grappling with questions about existence, faith, and the nature of reality.

3. Paradox: The use of paradox and contradictory ideas was common in metaphysical poetry. Poets would employ paradoxical statements to provoke thought and explore the tensions between opposing ideas.

4. Wit and Wordplay: Metaphysical poetry often featured clever wordplay, puns, and intricate rhyme schemes. The poets used language skillfully to create a sense of surprise and intellectual stimulation.

5. Exploration of Love: Love was a central theme in metaphysical poetry, but it was often portrayed in a more intellectual and analytical manner, with a focus on the complexities and contradictions of human emotions.

Prominent metaphysical poets include John Donne, George Herbert, Andrew Marvell, and Henry Vaughan. John Donne, in particular, is often considered one of the most significant figures in the metaphysical poetry movement, known for his intricate and intellectually challenging poems that explore the intersections of love, spirituality, and human experience.

Metaphysical poetry had a lasting influence on English literature and contributed to the development of modern poetry. Its unique blend of intellectual depth, poetic skill, and exploration of profound themes continues to be appreciated by readers and scholars today.

1) History of Metaphysical Poetry 

The history of metaphysical poetry is rooted in the 17th century in England. This literary movement emerged during a time of significant social, political, and religious upheaval in England, and it was characterized by a unique blend of intellectual exploration, complex metaphors, and the pursuit of profound and abstract themes.

Here is a brief overview of the history of metaphysical poetry:

1. Early Influences: The roots of metaphysical poetry can be traced to the works of Italian and French poets like Petrarch and Ronsard, who used elaborate conceits (extended metaphors) and explored complex emotions. However, it was in England that this style truly flourished.

2. John Donne: John Donne is often considered the founder of metaphysical poetry. His early works, written in the late 16th and early 17th centuries, exhibit the hallmarks of metaphysical poetry, including intellectualism, conceits, paradoxes, and intricate wordplay. His poems, such as "The Flea" and "A Valediction: Forbidding Mourning," are prime examples of this style.

3. George Herbert: George Herbert, a contemporary of John Donne, is another key figure in metaphysical poetry. His poetry, collected in "The Temple," is deeply religious and explores themes of faith, devotion, and the relationship between God and humanity.

4. Expansion of the Movement: Metaphysical poetry gained popularity during the early 17th century, and other poets began to adopt its style and themes. Andrew Marvell, Henry Vaughan, and Richard Crashaw are among the poets who contributed to the movement.

5. Later Influence: While metaphysical poetry fell out of favour in the latter part of the 17th century, its influence endured. Poets in subsequent centuries, including the metaphysical revival in the 20th century, drew inspiration from the style and themes of the original metaphysical poets.

6. Critical Recognition: In the 20th century, literary scholars and critics rediscovered the metaphysical poets and recognized their significance in the history of English literature. This led to renewed interest in their works and the publication of critical studies.

7. Enduring Legacy: The metaphysical poets continue to be studied and appreciated for their intellectual depth, linguistic innovation, and exploration of profound themes. Their influence can be seen in the works of modern poets and writers.

Overall, metaphysical poetry represents a distinctive period in the history of English literature, characterized by its intellectualism and its willingness to engage with complex philosophical, religious, and metaphysical ideas through poetic expression. While the movement had its heyday in the 17th century, its legacy continues to shape and inspire poets and scholars to this day.

2) Who Were the Metaphysical Poets?

The metaphysical poets were a group of 17th-century English poets who shared certain stylistic and thematic characteristics in their poetry. While there is no official list of who constitutes the metaphysical poets, several poets are commonly associated with this literary movement. Some of the most prominent metaphysical poets include:

1. John Donne (1572-1631): Often considered the preeminent metaphysical poet, Donne's poetry explores themes of love, spirituality, and human emotions through complex conceits, wit, and intellectual depth.

2. George Herbert (1593-1633): Herbert's poetry is characterized by its religious themes, devotion, and the exploration of the relationship between God and humanity. His work often includes intricate metaphors and wordplay.

3. Andrew Marvell (1621-1678): Marvell's poetry combines metaphysical elements with political and social commentary. He is known for poems like "To His Coy Mistress," which addresses themes of time and love.

4. Henry Vaughan (1622-1695): Vaughan's poetry often delves into the relationship between the physical and spiritual worlds, reflecting his own religious experiences and beliefs.

5. Richard Crashaw (1613-1649): Crashaw is known for his religious poetry, particularly his devotion to the Roman Catholic faith. His poems are characterized by rich imagery and emotional intensity.

6. Abraham Cowley (1618-1667): Cowley's work combines metaphysical elements with themes of love, friendship, and politics. He was also known for his prose essays.

7. Thomas Traherne (c. 1636-1674): Traherne's poetry explores the wonder and innocence of childhood, as well as themes of divine presence and spiritual awakening.

These poets shared a penchant for using elaborate conceits (extended metaphors), wit, paradoxes, and intellectual exploration in their poetry. They often grappled with complex philosophical and religious ideas and used intricate language and wordplay to convey their thoughts and emotions. The term "metaphysical" was later applied to them by literary critics, emphasizing the intellectual and philosophical nature of their work.

While these poets were active during the 17th century, their influence on English poetry endured, and their works continue to be studied and appreciated for their unique and enduring contributions to the literary canon.

3) Characteristics of Metaphysical Poetry

Metaphysical poetry, which emerged in the 17th century in England, is characterized by several distinct features that set it apart from other poetic movements. These characteristics include:

1. Intellectualism: Metaphysical poetry is known for its intellectual depth and complexity. The poets often engaged with philosophical, theological, and metaphysical ideas in their work. Their poems are filled with abstract concepts and intellectual exploration.

2. Conceits: Conceit is a prominent feature of metaphysical poetry. Conceit refers to an extended metaphor or analogy that draws unexpected and often elaborate comparisons between seemingly unrelated objects or ideas. These conceits were used to explore complex concepts and create striking imagery.

3. Paradox: Metaphysical poets frequently employed paradoxical statements and ideas in their poetry. They used contradictory elements to provoke thought and explore the tensions between opposing concepts, such as the contrast between physical and spiritual, worldly and divine.

4. Complex Imagery: Metaphysical poetry is known for its intricate and elaborate imagery. The poets used vivid and often unconventional metaphors and similes to convey their ideas. This complexity of imagery contributed to the intellectual nature of their work.

5. Wit and Wordplay: These poets were skilled in the use of wit, puns, and wordplay. They often played with language to create a sense of surprise and intellectual stimulation. This wordplay added depth and layers of meaning to their poems.

6. Exploration of Love: Love, both human and divine, was a central theme in metaphysical poetry. However, it was often portrayed in a more intellectual and analytical manner than in other poetic movements. The poets explored the complexities of human emotions and relationships.

7. Religious and Spiritual Themes: Many metaphysical poets had a strong religious or spiritual focus in their work. They explored themes related to faith, salvation, and the relationship between humanity and the divine.

8. Colloquial Language: While their poetry could be highly intellectual, metaphysical poets often used colloquial language and conversational tones in their poems. This combination of complex ideas with everyday language added a distinctive quality to their work.

9. Varied Metre: Metaphysical poetry does not adhere to a single strict metre or rhyme scheme. Poets in this tradition experimented with various metrical patterns, adapting their form to suit the content and ideas they wished to convey.

Prominent metaphysical poets include John Donne, George Herbert, Andrew Marvell, and Henry Vaughan. These poets collectively contributed to a unique and influential literary movement that left a lasting impact on English poetry, and their works continue to be studied and appreciated for their intellectual depth and creative innovation.

4) Examples of Metaphysical Poem

Here are a few examples of metaphysical poems by some of the prominent poets associated with the metaphysical poetry movement:

1. John Donne: - A Valediction: Forbidding Mourning - In this poem, Donne uses the metaphor of a compass to describe the unbreakable connection between two lovers even when they are physically apart.

2. George Herbert: - The Collar - This poem explores Herbert's inner conflict between worldly desires and his spiritual calling. It reflects on the idea of being yoked to God.

3. Andrew Marvell : - To His Coy Mistress - While this poem is known for its metaphysical exploration of time, it also contains elements of wit and seduction as the speaker tries to convince his lover to seize the moment.

4. Henry Vaughan :- The World - Vaughan's poem contemplates the contrast between the fleeting pleasures of the world and the enduring spiritual realm.

5. Richard Crashaw :- The Flaming Heart - This religious poem uses vivid and passionate imagery to describe the fervent love and devotion of the soul toward God.

These poems exhibit some of the defining characteristics of metaphysical poetry, such as complex metaphors, intellectual exploration, paradoxes, wit, and the exploration of profound themes related to love, spirituality, and the human condition.

5) Samuel Johnson - Metaphysical Poet

Samuel Johnson is not typically considered a metaphysical poet. Instead, he is primarily known for his contributions to the 18th-century literary scene in England as a critic, essayist, lexicographer, and author of prose works, rather than as a poet. The metaphysical poetry movement, which was prevalent in the 17th century, had largely passed by the time Johnson's literary career began. However, it's essential to understand Johnson's role and his relationship with poetry in a broader context.

1. Biographical Background : Samuel Johnson (1709-1784) is renowned for his comprehensive work on the English language, the "A Dictionary of the English Language," published in 1755. His literary career included essays, biographies, and critical writings.

2. Critical Writings : Johnson's most significant contributions to literature are his critical essays and biographical writings, particularly his series of essays called "The Rambler" and "The Idler." In these essays, Johnson provided insightful literary criticism and discussed various aspects of literature, including poetry.

3. Views on Poetry : Johnson's views on poetry were shaped by the neoclassical literary tradition of the 18th century, which emphasized clarity, order, and a return to classical models. He was critical of certain poetic practices, such as overly elaborate metaphors and unconventional structures, which were common in metaphysical poetry.

4. Contemporary Influence : Johnson's criticism and literary values were instrumental in shaping the literary taste of his time, moving it away from the metaphysical and toward the neoclassical style. He promoted a clear, balanced, and rational approach to literature and language.

5. Johnson as a Poet : While Samuel Johnson is primarily known for his prose works, he did write poetry. His most famous poem is "The Vanity of Human Wishes" (1749), a satirical and philosophical work that reflects on the fleeting nature of human desires and ambitions. While the poem has intellectual depth, it doesn't align with the metaphysical style.

In summary, Samuel Johnson's contribution to English literature primarily lies in his critical and prose writings, and his literary values were more aligned with the neoclassical tradition than with the metaphysical. While he engaged with poetry and certainly appreciated its value, his own work and critical perspectives differ significantly from the characteristics and themes typically associated with metaphysical poetry.

Poem by William Wordsworth " Composed upon Westminster bridge September 3, 1802"

"The composed upon Westminster bridge September 3, 1802"

By William Wordsworth 

 Hello everyone……

In this lesson I'm going to deal with the poem names "Composed upon Westminster bridge September 3, 1802" , which is written by the most famous writer William Wordsworth. Before discussing main poem let's look apon points like, brief information about romantic period, short biography of poet( William Wordsworth) , 

Brief note about the main poem 'composed upon Westminster bridge' as well as the summary of the poem . 

Romantic period:

William Wordsworth is the most famous poet during the romantic period, so before discussing the poet, this is the brief information about the romantic period. The Romantic Period began roughly around 1798 and lasted until 1837. The political and economic atmosphere at the time heavily influenced this period, with many writers finding inspiration from the French Revolution. There was a lot of social change during this period. Calls for the abolition of slavery became louder during this time, with more writing openly about their objections. After the Agricultural Revolution people moved away from the countryside and farmland and into the cities, where the Industrial Revolution provided jobs and technological innovations, something that would spread to the United States in the 19th century. Romanticism was a reaction against this spread of industrialism, as well as a criticism of the aristocratic social and political norms and a call for more attention to nature. Although writers of this time did not think of themselves as Romantics, Victorian writers later classified them in this way because of their ability to capture the emotion and tenderness of man.

William Wordsworth as a poet: 

Scholars say that the Romantic Period began with the publishing of Lyrical Ballads (1798) by William Wordsworth and Samuel Taylor Coleridge. This was one of the first collections of poems that strayed from the more formal poetic diction of the Neoclassical Period. Poets of the period instead used everyday words that the average person could understand. This also aided in expressing human emotion. Wordsworth primarily wrote about nature. He felt it could provide a source of mental cleanliness and spiritual understanding. One of Wordsworth’s well-known works is “The Solitary Reaper” (1807). This poem praises the beauty of music and shows the outpouring of expression and emotion that Wordsworth felt was necessary in poetry. His greatest piece is The Prelude (1850), a semi-autobiographical, conversation poem that chronicles Wordsworth’s entire life. Conversational poetry was the literary genre most commonly used by Wordsworth and Coleridge, with the latter writing a series of eight poems following the genre structure of conversational verse and examining higher ideas of nature, man, and morality. This poetry is written in blank verse and is extremely personal and intimate in nature, with much of the content based on the author’s life.

Coleridge and Wordsworth were very good friends and the two often influenced each other. While Wordsworth was much more meditative and calm, Coleridge was the opposite and lived a more uncontrolled life. Of his three major poems only one is complete: The Rime of the Ancient Mariner (1798). This poem tells the story of a sailor’s journey and his experiences on the ship. The sailor is cursed by supernatural powers and is only able to return home when he appreciates the animals and nature around him. He is forced to wander the Earth sharing his story due to his earlier mistakes. His two other long form poems are Kubla Khan (1816) and Christabel (1816). According to Coleridge, his poem Kubla Khan came to him in an opium-induced dream after reading a work about Chinese emperor Kublai Khan. He was never able to finish the work. Christabel tells the story of the title character meeting a stranger named Geraldine who asks for Christabel’s help. Ignoring the supernatural signs, Christabel rescues and takes her home, but it appears that the stranger is not normal. Coleridge was only able to finish two out of his five intended parts to the poem. Okay , so now we move to our main topic " Composed upon Westminster bridge September 3, 1802" 

Composed upon Westminster bridge September 3, 1802 : 

‘Composed upon Westminster Bridge, September 3, 1802’ is a sonnet by William Wordsworth (1770-1850) describing London and the River Thames, viewed from Westminster Bridge in the early morning. Inspiration for the poem was provided by a journey made by Wordsworth and his sister Dorothy through London. The pair were en route to Calais where they were to meet William’s illegitimate daughter, Caroline, for the first time. At dawn they boarded the coach from Charing Cross to Dover. In her Journal, Dorothy described crossing Westminster Bridge, noting London’s beauty: ‘there was even something like the purity of one of nature’s own grand spectacles’. Wordsworth conveyed these feelings in his sonnet, completing it on their return journey in September. The speaker celebrates the majestic, ‘sleeping’ city, using the technique of personification.

The poem is a Petrarchan or Italian sonnet, arranged into an octave or eight-line section and a sestet or six-line section (although unlike some Petrarchan sonnets, Wordsworth does not have a blank line dividing the eighth and ninth line), rhyming abbaabba and cdcdcd (the abba abba rhyme scheme in the first eight lines is the giveaway that this is a Petrarchan sonnet). The first eight lines praise the beauty of London in the early morning light, as the poet stands on Westminster Bridge admiring the surrounding buildings.

Summary of the poem "Composed upon Westminster bridge" : 

Wordsworth’s Composed ‘Upon Westminster Bridge’, September 3, 1802, is a pretty straightforward poem. It features a speaker sharing his impressions of the view from, you guessed it, Westminster Bridge. The poem takes shape as the speaker describes the sights and feelings of a quiet early morning before the city springs to life.

Line 1-3

Earth has not anything to show more fair:

Dull would he be of soul who could pass by

A sight so touching in its majesty:

Wordsworth begins by describing the view from Westminster Bridge and praises it, says that “there is nothing fairer in all the world”. And anyone who could see such a sight and just carry-on walking past without stopping to admire the view would be soulless indeed.

Line 4-8

This City now doth, like a garment, wear

The beauty of the morning; silent, bare,

Ships, towers, domes, theatres, and temples lie

Open unto the fields, and to the sky;

All bright and glittering in the smokeless air.

London appears to wear the morning’s beauty like a piece of clothing. The ships, towers, and other buildings that make up the London skyline are silent and ‘bare’. Here there is no flashiness but plain and simple beauty, despite the man-made origins of these structures.

These buildings appear to be adapting to nature: they ‘lie / Open’ to the fields and the sky, those earthly and ethereal landscapes that sandwich them, as if the London buildings are between earthly beauty and the beauty of the heavens, and exist not in contrast to them but as a natural bridge between them. Because the workaday world hasn’t started yet and the wheels of industry are still, the air is ‘smokeless’ at the moment: clear and clean.

Line 9-12

Never did sun more beautifully steep

In his first splendour, valley, rock, or hill;

Ne'er saw I, never felt a calm so deep!

The river glideth at his own sweet will:

Wordsworth praises being a nature poet that the sun never rose so beautifully, not even the natural features of valleys, rocks, or hills, have looked so beautiful and the poet felt calm to watch the scales and the outlines of these city buildings. Wordsworth connects with the calm of the country’s capital before the business day begins.

Line 13-15

Dear God! the very houses seem asleep;

And all that mighty heart is lying still!

Even the Thames appears to be taking its time, slowly flowing through the city and under Wordsworth’s feet. Wordsworth returns to the buildings of the city in his reference to the houses: the people are indoors asleep, but the bricks and mortar of the houses seem to be hypnotised. The heart of London, the people who make it what it is, are all lying asleep, still and calm.

Conclusion: 

Wordsworth’s poems were a celebration of the natural beauty provided by the earth, and it is thus unusual to come across a poem of his that so celebrates the beauty of man-made structures. Wordsworth’s admiration takes the form of a Petrarchan sonnet, an Italian sonnet that was primarily used to express romantic love. It is made up of 14 lines: an octave, followed by a set.

In the end, the poet appears to be stunned into complete silence by the beauty of London. ‘Dear God! The very houses seem asleep; and all that mighty heart is lying still’, he writes, using the exclamation to bring to a head the point that he has been labouring towards the entire poem: the beauty of London in the early morning is a stunning sight, and one that should be seen to be believed.

Teacher's day virtually

 Hello everyone.....

My name is Riya Bhatt. As we all know that 5th September is celebrated as a teacher's day in all over the India and we students of English department mkbu , are going to celebrate teacher's day virtually. 

So as a part of virtual teacher's day I prepare a video on Anti-sentimental comedy. 

Here is link of my YouTube video:

 

After watching this session give your 2-4 minutes for your mind test through this quiz, here I mentioned that quiz link : 

Google forms 

I also upload this video as a Ted. Ed lesson. For more you can click on this link 🖇️

ed.ted

Your participation means a lot for us . I sincerely hope that you all set aside some  time for watching video and test your knowledge with the help of quiz. Your  participation and support is invaluable. 

With the heartfelt appreciation.

Riya bhatt .

Exploring Macbeth

Exploring Macbeth with the help of CHAT GPT

  Character of Macbeth

 Question 1:

Soliloquy Analysis : - Explain the soliloquy from Shakespeare's "Macbeth" : 'Tomorrow tomorrow ….. tale told by an idiot full of sound and fury , signifying nothing'. Provide insights into its context, significance and its impact on the character of Macbeth.

Answer 1: This Soliloquy is the most famous of all Shakespeare's works. Macbeth delivers this Soliloquy towards the end of the play, after he has become king through treacherous mens, including the murder of king Duncan and the Slaughter of many others. In the text this Soliloquy Scene 5. By this point Macbeth's life  is spiralling out of Control. His Life wife has died, his kingdom is in turmoil and Macbeth has become consumed by guilt, paranoia, and a sense of Impending doom.

Question 2:

The great chain of being: - Define the concept of the "Great Chain of Being" as it relates to Shakespeare's"Macbeth". How does this concept influence the characters and themes in the play? 

Answer 2:The "Great chain of Being" is a hierarchical mediaeval and Renaissance where One all life forms and elements are ranked in a divine order.  Macbeth's ambition disrupts this order, leading to chaos and tragedy. The the highlights the consequences of challenging divine order unchecked ambition and consequences of defining divine order and the ensuing tragic outcomes. 

Question 3: 

Film Adaptation Analysis: - Choose the film adaptation of Shakespeare's "Macbeth" ( or mention a specific adaptation by name ) and explain why you believe it is the best adaptation. Discuss its fidelity to the source material ,directorial choices and any unique interpretations that make it stand out . 

Answer 3: Roman Polanski's 1971 adaptation of "Macbeth" is often considered one of the best. It remains faithful to the source material, capturing the play's dark and atmospheric tone. Polanski's directorial choices emphasize the brutal and visceral aspects of the story, making it a stark and chilling portrayal of ambition and moral decay. The film's realism and unflinching approach contribute to its standing as a memorable adaptation.

Question 4: 

Feminist Reading : - Define what a " Feminist Reading" of a literary text involves. Can you apply this approach to analyse the character of Lady Macbeth in "Macbeth" ? Explain how her character can be viewed from a feminist perspective. 

Answer 4: A feminist reading of a literary text involves examining the text through the lens of gender and power dynamics, focusing on how the work portrays, challenges, or reinforces traditional gender roles and expectations. When analyzing Lady Macbeth in Shakespeare's "Macbeth" from a feminist perspective, one can highlight her ambitious and assertive nature as a subversion of the passive female stereotype of her time. However, her eventual descent into madness and guilt may also be seen as a commentary on the societal pressures and consequences faced by women who defy traditional gender norms.

  Character of Lady Macbeth 

Reference:

Answers created by CHAT GPT

Photos from movie screening of the play Macbeth by Dilip Barad sir .