Traits of Romanticism in Wuthring Heights

Name: Bhatt Vidhi

Roll No: 05

M.A. SEM II

Assignment topic: Traits of Romanticism in Wuthering Heights

Submitted to: Mr. Jay Mehta

Department of English,

Bhavnagar University,

Bhavnagar.

Traits of Romanticism Wuthering Heights

                                        

                                             Emily Jane Bronte was the British Novelists and poet, best remembered for her only novel Wuthering Heights, which is now novel acknowledge classic of English literature and considered to be one of the inner of fiction from the age of Romanticism. She was as much a romantic character as any of those found in her novel.

                                              Wuthering Heights has been called the first truly romantic novel. Early in the novel, Heathcliff is an almost pure type of romantic hero; furthermore Heathcliff’s mysterious origin, the larger than life dimensions of Cathy’s and Heathcliff’s character and their unearthly love for each-other give Wuthering Heights the status of myth.

                                                 Wuthering has been called the first truly romantic novel. The last shift was the result of triumph of the class which invented, festered and adopted as its own the Romantic Movement: the bourgeoisie.

                                                  The Romantic Movement was the Gothic Romance. The first was Horace Walpole’s “Castle of Otranto” (1765), set in haunted castle and containing various mysterious apparitions. Beginning of the last decades of the 18^th century, if transformed poetry, the novel, drama, painting, sculpture, all forms of concert music and ballet, was deeply connected with the politics of the time, echoing people’s fear, hopes and aspirations. It was the voice of revolution at the beginning of the 19^th century and the voice of establishment at the end of it.

                                              Romanticism deals with the Gothic Romance in Wuthering Heights. Another quite distinct contribution to the Romantic Movement. Rejecting the enlightenment ideal of balance and rationalism, readers eagerly sought out the historical, mystical, fighting, mysterious forces. The modern horror novel and woman’s romance are descendants of the gothic romance, transmulated through such master word as Emily’s movement her sister Emily ‘Wuthering Heights’.

                                               Wuthering Heights is a very ambiguous novel. It has a kind of double ending, because we hear the shepherd by who rushes her saying he’s seen Heathcliff and a woman under the Nab’ and he dare not pass them. And this is the image that so many subsequent reproducers of the novel focused on, and gives us the idea of the twin souls reunited after death and so on, and even walking the moors. Above all the things show the spiritual love of Heathcliff and Catherine and this is the another aspects of Romanticism.  

                                                  Mary takes more orthodox view of the Romanticism in Wuthering Heights as well as Jane Eyre. She believes that the Bronte sisters stand in a direct contrast to Jane Austen, who’s writing a little earlier in the 19^th century also about relationship between men and women. The end of the 18^th century, two contradictory sets of ideas about love and marriage begun to emerge in England.

                                                  She takes a very dim view, not just of romance in marriage but of romantic ideas in generally, romantic ideas the countryside, romantic ideas about spontaneity. She doesn’t expect the kind of romance between people which the Bronte’s do. What the Brontes is spontaneity, depths of feeling, passion, and entirely individualized love. So particularly Emily Bronte’s Wuthering Heights, there’s a construction of love which has been much endorsed for the past two hundred years.

                                       This romantic concept come to dominant our thinking about love in the western world, and become the essential ingredient for marriage. One of all emotions celebrated by the Romantics, the most popular was love. Although the great often relationship between a pair of lovers.

                                         The medieval trouble dour had celebrated courtly adultery according to high artificial code that reflected the lives of real men and women while agreeing with physicians that romantic passions was a potentially fatal disease.

                                          One of the most complex developments during this period is the transformation of religion it a subject for the artistic treatment far removed from traditional religion. Art. The enlightenment has weakened, but hardly uprooted, established religion in Europe and religion was etheticizied and writer felt free to draw on biblical themes with the same freedom as their predecessors had drawn on classical mythology.

                                            Nature is the subject of romanticism, to nature is a vast on which can only be touched on here. There has hardly been time since the earlier antiquity. The enlightenment had talked of “natural law” as the source of truth, but such law was manifest in human society and related principally to the civic behavior.

                                            Wuthering Heights is not only one of the greatest novel of European Romanticism, it also passage much of the narrative complexity and style, development in fiction which were to come in the following century.

                                              We can take another character which present individualism he can give the way it is Romanticism. Heathcliff is a rough, jealous and lover of Catherin. Catherine is the daughter of caretaker and wealthy people he intensely falls in love with Catherine and Catherine also love him. But the social status of Catherine is high and Heathcliff  himself belongs to lower class And Heathcliff went to take Catherine at the last stage and because of all this things Heathcliff and Hindly are truly enemy Catherine was not married Heathcliff. So, Heathcliff want to take revenge and that show the individuality and no one can bounce their regulations.

                                                 Romantic love has been enormously demanding to marriage because it’s something which offers people all kinds of hopes and aspirations and ideals, but they’re very often difficult expectations to meet within a long-term relationship in the same way.  

   

             

Multiplicity of Themes in Middlemarch

Name: Bhatt Vidhi

Roll No: 05

M.A. SEM II

Assignment topic: Multiplicity of themes in Middlemarch

Submitted to: Miss Ruchira Dudhrejia

Department of English,

Bhavnagar University,

Bhavnagar.

Multiplicity of themes in Middlemarch

                                        George Eliot is a Victorian novelist, but in many ways she is the first of the great modern novelists. She is modern in her high conception of her art. George Eliot is an “intellectual novelist” and she brought to bear on the art of the novelist an exceptionally well-cultivated and trained intellectual and extraordinary powers observation and reasoning. Her concerns are primarily serious and intellectual; she is more concerns with the inner drama, the inner action, than with the presentation of the externals of character and action.   

                                          Middlemarch is a complex work of art and such as number of themes and ideas stands out of it. Middlemarch deals with many themes and which present the society of the age and it was the time of Reform Bill.

                                           The novel regarded by many as her masterpiece, was published in eight parts- The first on 1^st December, 1871, and the last in December 1872. Nearly twenty-five thousand copies were sold at once, and it raised George Eliot to the rank of the first living novelist of England. George Eliot had a high conception of the novel, and she used it as a means of moral uplifts. In her hand novel becomes a medium for the serious discussion of problems of life and death, and the human predicament in general.    

                                            George Eliot must soon have recognized the many similarity of the themes. It deals with each and every aspects of the society through this novel.

1.    Theresa complex

                    Dorothea has what has been called, the Theresa Complex, i.e. “a yearning to do well in the work which is so intense that it must answer to some emotional need in the Theresa herself”. Theresa was a Christian saint who had such a yearning .Dorothea has been referred to in the prelude as a later born Theresa. She is Theresa in her lofty aspirations, “struggling under dim lights and entangled circumstances”, to achieve her aspirations. But she lives in a society in which there is no particular demand for Theresa.

2.    Love

                    Love keeps people together, but lacks of love and understanding, let them drift apart. Those who are truly love like Will Ladislaw and Dorothea, Mary and Fred are bound together by it, and are very alike in temperament and outlook. Those who lake it like Lydgate and Rosamond, Casaubon and Dorothea are ii-suited to each-other in marriage, and are very disappointed their unions.

3.    Prejudice

                      Lydgate and Will Ladislaw cannot seem to beat. People in Middlemarch dislike anyone who is not from Middlemarch, or anyone who reputation seems questionable. Will and Lydgate are both good people, but it is initial prejudices, sometimes based on invalid or circumstantial a reason, that means that they are never liked or accepted each-other.

4.    Conformity

                        An issue that is related to social expectation, but is somewhat different. People are supposed to conform to certain social ideas and norms. Dorothea is supposed to be a proper wife, and then a proper widow and follow society’s set guideline about how to fill each position. Will fits no position that society tries to group him into, he is disliked; he refuses to be conventional or proper.

5.    Social Expectation

                         Closely linked to society hierarchy, are ideas about how everyone should act in certain situations. Lydgate proposes to Rosamond because society expects and he should do it. Dorotea is pushed to live with someone else or marry again after she is widow, because society expects that it is right. People don’t necessarily follow these expectations, nor should they’ but they do exist, and play a part in people’s lives.

6.    Self-discovery

                           There are certain truths which every characters learns about him in the course of trial; Lydgate and Rosamond find out more about their characters through their money troubles, though they do not always adjust accordingly. Dorothea makes the most dramatic journey of self-discovery; and changes a great deal within the course of the novel.

7.    Reality vs. Expectations

                            Many characters pre-conceived ideas, especially of marriage, are proven tragically wrong in the course of the book. Casaubon and Dorothea both have unrealistic ideas about marriage, and are disappointed. Lydgate and Rosamond have the same idea, and are let down. Life often defines what one expects, or could predict of it; and the people who are happiest are the ones who have few expectations or are most flexible.

8.    Gender roles and expectations

                               Especially relevant to Dorothea, Middlemarch society has very defined ideas of what people of each gender should do within the society, and people, especially woman, who deviate from this norm, are looked down upon. Dorothea is tolerated because she is of good family and does not disrupt the society. She is in however, she faces a great deal of pressure to change herself, conform to other’s ideas, and submit herself to male leadership at all times.

9.    Progress

                   Much is changing in the world of Middlemarch, English society is evolving in social, economic, technologic areas, socially, ideas of gender and class are in flux, as woman are proving more and more competent, and the Industrial Revolution is causing a greater amount of social mobility. The economy of England is changing, from an aristocratic, inheritance based system of holding weather and land, to one based on commerce, business, and manufacturing. Technology is also changing, in medical science, and in areas like transportations, and these are changes that are beginning to sweep through Middlemarch.

10.                    Money

                                  Money is the root of evils, but much good, in the novel. Lydgate gets desperate for want of it, Fred despairs when he is little. Dorothea becomes generous when she has too much, and the garths saved carefully since their money is limited. Money has a profound effect on character within the novel, and through many people is judged by how much money they have, many of the best people in the people, like Will Ladislaw and Mr. Fare brother.

11.                    Strength of Rumor

                                   Rumor can do a great deal of damage in Middlemarch, having even more weight than fact in some cases. Both Bulstrode and Lydgate are blackened by rumors passed around society, and will is blackened as well, though he is falsely accused.

12.                    Politics

                                     Everything is political in Middlemarch, with most people strongly backing the conservative poetry. Personal alliances and versions are based on matters of politics and political identification.

13.                    Family Obligation

                                       People within the novel have varying ideas of family, obligation in the novel, though it is a strong force in Middlemarch society. Mr. Featherstone’s relations believe they are entitled to money; Mrs. Bulstrode believes that she must help and advise her in order to show support. Sir James shows her regard for his family by being very protective and a constant advisor as well. Casaubon dispenses of his obligation through money, and Bulstrode attempts also to do the same.

14.                    Social position

                                        Social position means a great deal in Middlemarch; it means how much respect a person’s gets, how people treat them, how they are regarded, etc. People of high status are generally treated more delicately than people with little money, Lydgate and Will Ladislaw. Birth and connections are also important in determining a person’s place, and also what benefits they will receive from society.

                                         It gives us a complex, comprehensive and realistic picture of English provincial society in the 1830s. Middlemarch is a work of extraordinary power, full of subtle and accurate observation’ and gives if a melancholy, yet an undeniably truthful portraiture, of the impression made by society.

cultural studies and its four goals

Name: Bhatt Vidhi

Roll No: 05

M.A. SEM II

Assignment topic: Cultural Studies and its Four Goals

Submitted to: Dr.Dilip Barad

Bhavnagar University,

Bhavnagar.

                 Cultural studies and its four goals

               What is cultural studies?

                                    Cultural studies is very hard to define it but cultural studies is not so much a discrete approach at all, but rather a set of practice. With the reference book of Elice Walker novel is ‘The color Purple’ (1982). Through this book, the professor identifies African American literary and cultural sources and described the book’s multilayered narrative structure, moving on to the brief review of its feminist critique of American gender and racial attitude. Students and professor discuss the key facts and the different approaches of the novel. 

                                     A student raises her hand and says about the film version of Steven Spielberg, angry responses from many African viewers. The class member gave the reactions to the points examine the interrelationship among the race, gender, popular culture, the media, and the literature. They question cultural conventions both the side- historical and contemporary.

                                      Cultural studies is not “a tightly coherent, unified movement of agenda”, but a “loosely coherent group of tendencies, issues and questions”. Cultural studies is composed with the Marxism, post-structuralism and post-modernism, feminism, gender studies, anthropology, sociology, race and ethnic studies, film theory, urban studies public policy, popular cultural studies and post-colonial studies. And those fields concentrate with social and cultural forces that either create community or cause division.

                                        We can take the example of Jacques Derrida’s ‘Deconstruction’. Deconstruction is a theory and practice of writing which questions and claims to undermine the assumption that the system of large language provides grounds that are to adequate to establish the boundaries, the coherent or the unity, and the determine meaning of literary text. 

                                         The discipline psychology has also entered the field of cultural studies. For example Jacques Lucan’s psychoanalytic the theory of the unconscious structured as a language promoted a special a special importance to the language and power as symbolic system.

                                           Michel Foucault came to an idea of power is a whole complex of forces, it is that which produced and what happened, accepted ways to thinking, writing, and speaking and practice that embody, exercise and amount the power. Foucault’s ‘Genelogy’ it includes many things by the traditional historians, from the archetypal blue prints four prisons to the memory of deviants.

                                          

  Cultural studies has its four goals.

1.      Cultural studies transcend the confines of a particular discipline such as literary criticism or history.

                            Cultural studies practiced as critical inquiry, Representation and boundry 2 cultural studies involve securitizing the cultural phenomenon of a text. Cultural studies are not necessarily about literature in a traditional sense or even about ‘art’.

                              Intellectual works are not limited by their own “border” as single texts, historical problems or discipline and the critics own personal connections to what is being analyzed may also described. Cultural studies practitioners are “resisting intellectual” who see what they do so “an emancipator project” because it erodes the traditional disciplinary divisions in most institutions of higher education. It is for students who sometimes mean that the professor might make their own opinion to the political view part of the instruction which leads to the problems. But this kind of criticism is an engaged rather than detached activity.

2.    Cultural Studies is politically engaged.

                               Cultural critics see themselves as “oppositional”, not only within their own discipline but too many of the power structures of the society at large. They question inequalities within power structures and seek to discover models for restricting relationship among dominant and minority discourse. An actual person or a character in literature a rebuttal of the traditional humanistic and a relocation of aesthetic and cultural from the ideal realms to taste and sensibility into the arena of the whole societies everyday’s life as it is.

3.    Cultural studies denies the separation of high and low or elite and popular culture.

                                “Cultured” person used to mean being acquainted with “highbrew” art and intellectual pursuits. Cultural critics work to transfer culture to include mass culture, or popular, folk or urban. 

                                  Jean Baudrillard and Andreas who were the theorists and argued that after World War II the distinctions among high, law and mass culture collapsed and they cite other theorists such as Pierre Bourdieu and Dick Hebdige on how “good taste” and reflects prevailing social, economic and political power bases. Their argument for white superiority and worldwide domination of other races especially Asians.

                                    French historian Michel de certeau, cultural critic examine “the practice of everyday’s life” studying literature as an anthropologist world, as a phenomenon of culture, including a culture’s economy. Transgressing of boundaries among discipline law and high can make cultural studies research paper with the title: - The birth of Captain Jack Sparrow; an analysis and four sources of Johnny Depp’s funky performance in Disney’s pirates of the Caribbean: The course of the Black Pearl (2003), you could research cultural topics ranging from the trade economics of the sea two hundred years ago.     

4.    Cultural Studies analyses not only the cultural work, but also the means of production.

                                        Marxist critics have long recognized the importance of such paraliterary question as these: who supports a given artists? Who publishes his or her book, and how are these book distributed? Who buys book? For what matter who is literate and who is not? A well-known analysis of literary production is Janice Redway’s study of American romance novel, Reading the Romance, Woman, patriarchy and popular literature which demonstrates the textual effect of publishing industry’s decision about the books that will minimize its financial risks. Cultural studies thus join subjectivity and the cultural in location to individual lives with engagement a direct approach to attacking social ills. Cultural studies practitioners deny, “Humanism” or “the humanities” as universal categories which resembles the goals and values of humanistic and democratic ideals.

              

Tradition and Individual Talent-T.S.Eliot

Name: Bhatt Vidhi

Roll No: 05

M.A. SEM II

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

Submitted to: Dr.Dilip Barad

Bhavnagar University,

Bhavnagar.

Tradition and Individual Talent

           

                              Thomas Steams Eliot belongs to the tradition of Dryden, Johnson, Coleridge and Mathew Arnold in being the poet and the critic at the same time. He believes that Criticism and creation are contemporary activities and therefore a good poet can only be a good critic. In his essay ‘The Perfect in the second Wood’ he says, “It is fatuous to say that criticism is for the sake of creation for the sake of criticism”.

                                T.S .Eliot, in his essay,’ Tradition and Individual Talent’ (1917), he sowed the seeds of a revolution in criticism and in poetry. Modern poetry and modern criticism are really the two sides the same coin; each has nurtured the other. Eliot met the challenges of both the literary radicals and the neo-humanists, who were engaged in the literary discussions at that time, like the latter he put the writer in tradition when he said that no poet, no artist has his complete meaning alone; he must have a sense of history from Homer by which the vitality of past enriches the life of present. He said that sensibility alters from generation to generation, but expression is altered only by a man of genius. He went so far as to say that happens to a nation is as important as the revolution in its languages.

                                 T.S.Eliot is a towering figure in the field of literary criticism. He pleads for the same kind of order in art and critic. Eliot says that ‘critics sometimes give their own opinions where as the function of criticism is to find facts and critics must have some outside norms upon tradition and acquired wisdom’. The word ‘tradition’ is seldom views in literature. But every nation and every race has its own creative and critical turn of mind. According to Eliot, criticism is an inevitable as breathing. So, the fact should be objective and the critic must how “comparison and analysis”. Comparison with the past and modified present tradition.  Analyses will show the facts as they are. When we read a book and feel certain emotion about it, we should try to look at our own tendency we praise to poet upon those aspect of his work which he least resembles anyone else means (highly original and work of art). In the process of analyzing the work we try to find out what is individual and what is the peculiar essence (quality) of the man.

                                 The critic gets a sort of satisfaction when he finds a poem completely original and not depending upon his predecessors. According to Eliot, tradition should be positively discouraged because novelty is better than repetition. Tradition is a matter of much widens significance. It cannot be inherited and if you want to obtain it my great labour than a few things are also involve such as historical sense. Historical sense involves a perception not only the pastness of the past but its present. Historical sense means timeless and temporal when these two things come together makes tradition. It makes the writer conscious of his place in time, of his own contemporary. According to Eliot no poet, no artist of any art is complete in himself. His significance, his appreciation, is the appreciation of his relation to the dead poets and artists. You cannot value him alone you must see him for contrast and comparison among the dead. Eliot sees it as principal of aesthetic, a work of art, a comparison in which two things are measured by each other at that time we cannot say that the new thing is more valuable because it fits in, it’s fitting it is a taste of its value. The poet must be very conscious of the main current. He must be quite awake of the obvious facts that the art never improve, but that material of art is never quite the same. The difference between the present and the past is that the conscious present is an awareness of the past. In short, Eliot says that the poet’s must develop the consciousness of the past and that he should continue to develop his consciousness throughout his career that is the tradition a in a true sense.     

                                      True criticism and sensitive appreciation is directed not upon the poet but upon the poetry. The first aspect of poetry in the importance of the relation of the poem to after poems by other authors. The second aspect is in the impersonal theory of poetry is the relation of the poem to its author. Eliot says that the mind of nature poet differs from that of immature not in connection with valuation of personality, not be more interesting or having to say something more but while being a mere finely a perfecting medium in which special or varied feeling are at liberty to enter into new combinations. The mind of the poet partly or exclusively affect upon the experience of man himself, but the more perfect the artist the more completely separate in him will be the man who suffers and the mind that creates.

                                     The effect of a work of an art upon the person who enjoys, it is an experience different in kind from any experience not of art. The poet’s mind stores numberless feelings images, phrases which remain that until all the particles which can unite to form a new work of art. The intensity of the emotion is not important but the complexity of emotion is important for the greatness of the art. According to Eliot, Great variety is possible in the process of transmulatulation of emotion. For ex: - The combination of the emotion in the murder of Agamemnon is probably as complex as that which is the voyage of Ulysses similarly ode of Keats contains members of feelings. According to Eliot, the poet has not a personality to express but a particular medium and not a personality in which impressions and experiences combine and particular and unexpected ways. Impressions and experiences which are important may have no place in poetry and those which become important in the poetry may play quite a negligible part in the man’s personality. The feelings and emotions emerging from the poet are different from that in the mind of the poet. Thus the poet and the poem are two different things from the part. So, poet’s personality and his poem have no connection. The poet becomes great because he has more to say and that his mind is receptive enough. The feelings may not be his own but his mind to give a new shape to them. The business of the poem is not to find a new emotion but to use the ordinary ones and to express them into poetry. Eliot says “Poetry is not expression of personality but an escape from personality”. The more perfect the artist, the more completely separate in him will be the man who suffers and the mind creates.

                                         The emotion of art is impersonal. So, poetry must be objective and detach. So, honest criticism, centers on the poetry and not the poet. Eliot stands for highly organized from of intellectual activity; that is emotions. Eliot says that “the critic must not try to judge a work of art but he must leave it to readers”. True criticism is thus scientific inquiry into a work of art to see as actually in him. Subjective criticism satisfies a critic will. According to Eliot “his work is critical labour”. He selects, rejects and manipulates the details.

                                           Regarding objective creativity Eliot says that “Emotion in poetry is not simply transmitted from poet to the reader but it has to be transformed into concrete to appeal to the reader’s mind”. Symbol also work as objectives as co-relatives. Regarding sensibility Eliot says that poetic sensibility means recreation of thought into feelings According to Eliot “Feeling use symbols”. So, when thought face to the transform into feelings it is a rare poetry and this dissociations of sensitivity.

                                            The critic must have scientific mind. Eliot uses Aristotle’s method of comparison and analysis. Thus, Eliot is a classist in literature. According to him poetry is a superior type of amusement.