Character of Young Mortimer in Christopher Marlowe’s, "Edward II"


Young Mortimer is the second important character of Christopher Marlowe’s, Edward II (1592?), which was one of the earliest successful English historical dramas and a model for Shakespeare's Richard II and Richard III. He is portrayed with great spirit and power. To A. E. Boas, “the lines of his character , are of course , toned down to suit the altered environment, but there is the same note of lawlessly aspiring  ambition." Boas has presented the bird’s eye view of Mortimer’s character. In fact, Marlowe’s Mortimer is portrayed as a key figure in the political and personal conflicts that unfold throughout the story. 

In the play Roger de Mortimer is a somewhat imbued with dual- personality. He is a strange combination of strait forward bluntness and Machiavellian tactics. His character undergoes a change in the play. Since time is foreshortened and events develop rapidly in the change in Mortimer’s character comes a bit too suddenly. The few months during which he stays in France with Queen Isabella make him a different man altogether.

In the play, Young Mortimer initially appears as a loyal supporter of King Edward II. However, he becomes disillusioned with the king's rule and eventually aligns himself with the rebellious barons who seek to overthrow Edward and place his young son, Edward III, on the throne. Young Mortimer is motivated by a desire for power and influence, as well as a sense of justice and duty towards the realm.

At the very beginning of the play Mortimer’s actions symbolize his patriotism. He is overwhelmed with the love for his country and we are made to feel that he would do anything for the sake of his country’s dignity and solidarity. It is he who says to the king regarding Galveston’s banishment that they would not allow Gaveston (Piers Gaveston, 1st Earl of Cornwall) to enter the boundaries of their country because:
 “Mine uncle here, this earl and I myself.
Were sworn to your father at his death.
……………………………………….
For Mortimer will hang his armour up.”

When the devilish clutch of Gaveston makes the king to forget all his noble duties, Mortimer prepared to rebel against king. He says, “we’d hale him from the bosom of the king, / ----------------------- / will be the ruin of the realm and his.” Mortimer’s hate for Gaveston is beyond question .He is bent upon removing him staking all his interest and energy. He instigates all the Barons to rise in revolt against the king to banish Gaveston. He asks arch bishop of Canterbury, “Then will you join with us, that be his peers, / To banish or be head that Gaveston.”

Mortimer is the angry young man, impudent to the king, fiercely impetuous, the out – spoken spokesman for his elders. He is the most scornful of them. His anger is unbridled and others see his anger swell and urge him to control it bu goes on _______
“I can not nor I will not I must speak.”
  He is exceptionally blunt, down right and hearty. W. D. Briggs sees him a model of Hotspur. At the very step he flouts the authority of the king. His strong voice and will prevail with other barons who ultimately follows his lead and opposed by king.

Edward II
Young Mortimer’s illicit intimacy with queen Isabella raises the question of his patriotism. He is moved by the queen’s miserable plight – result of the king’s attachment with Gaveston. With winning smiles and the practice of feminine art she easily prevails on him to agree to the recall of his bitterest foe, Gaveston, from exile. When she complains that king does not love her he advises her to cease to love him in refurn. Moreover when Mortimer invites queen to sail before the battle of Borough bridge the queen though rejects his offer she likes –
 “So, well hast thou deserved, sweet Mortimer,
As Isabel could live with thee for ever.”
If it possible that Mortimer’s illicit love for the queen is partly responsible for his hostility to the king.

Mortimer is the ambitious Machiavellian character. When he was imprisoned he revealed his Machiavellian identity. In prison he verbalize his ambition,
“What, Mortimer! Can ragged stony walls
Immure thy virtue that aspires to heaven?
-------------------------------------------------
 Mortimer’s hope surmounts his fortune for.”
After his return from France, Mortimer becomes the greatest power behind the throne on which he placed a mere boy. He is now openly the queen’s lover _______
“for Mortimer and Isabel do kiss, while they conspire.” He is no more an honest lord. He is seducer of women, a dissembler and a traitor filled with an excessive lust for power;
“The prince I rule, the queen do I command,
And with a lowly conge to the ground,
---------------------------------------------
I seal, I conceal, I do what I will.”

It is an honest confession of a power drunk dissembler, Willy hypocrite who does not scruple to use his ill- got power to plague his enemy and advance his friends for his own safety he makes an extremely cruel, treacherous and deceitful plan for the king’s murder. And the murder is arranged most cunningly. Lightborn, a professional murderer, is done, Lightborn is stabbed to death by the order of Mortimer so that the lord protector’s hand in it may never come to light.

Young Mortimer has to face the nemesis as the prince Edward does not spare him. He is caught in between, for hatching the conspiracy of king’s murder and is sentenced to death by King Edward –iii. He realizes the eternal philosophy of life;
“Bose fortune, now see that in thy wheel
There is a point to which when men aspire
Thy tumble headlong down.”

Young Mortimer's character undergoes a transformation throughout the play. Initially, he appears as a loyal subject, but his quest for power and his involvement in the rebellion against Edward II reveal his true motivations. His ultimate downfall comes when he underestimates the resolve and loyalty of the king's supporters.

Overall, Young Mortimer is a complex and intriguing character in Marlowe's "Edward II." He embodies the political ambition, personal conflicts, and moral dilemmas that drive the narrative forward. His actions and motivations contribute to the play's exploration of power, loyalty, and the consequences of political intrigue.

Thus, he is large stature than ay other character in the play. In force of will and power of intellect there is no match for him. He fought and won great battles, he indulged in great crimes; and fell like a great man. Though some of the critics called him as the greatest philosophical character in the entire range of English dramatic art some critics spine that his philosophical utterance are hollow without any substance.


References
1. Briggs, William Dinsmore. Marlowe's Edward II. London: David Nutt, 1914.
2. The place of the reign of Edward II in English history, based upon the Ford lectures delivered in the University of Oxford in 1913 : Tout, T. F. (Thomas Frederick), 1855-1929 : Free Download, Borrow, and Streaming : Internet Archive. (n.d.). Internet Archive. https://archive.org/details/placeofreignofed00toutiala
3. Full text of “Marlowe’s Edward II.” (n.d.). Full Text of “Marlowe’s Edward II.” https://archive.org/stream/marlowesedwardii00marluoft/marlowesedwardii00marluoft_djvu.txt
4. profile, V. (2011, September 7). Edward —II Young Mortimer’s character. Edward —II Young Mortimer’s Character. http://arghyajanaliteratureguide.blogspot.com/2011/09/edward-ii-young-mortimers-character.html

Ten Awesome Things You Can Learn about 'Theme Of Education' Studying David Herbert Lawrence’s "The Rainbow"


Exploring the Theme of Education through David Herbert Lawrence's "The Rainbow": Ten Fascinating Insights

Teachers and Literature: Critiquing Education, Shakespeare to Lawrence

Holofernes in Love's Labour's Lost and Sir Hugh Evans in The Merry wives of Windsor are two characters whose profession to teaching are mere caricature , and Shakespeare so presents them that they are more ridiculed than admired. Shakespeare's own experience at school said to have been anything but happy and his own attitude to his teachers perhaps finds expression in the portrayal of Holofernes and Evans, neither of whom evokes our sense of respect. Thewackhun and Squire are two tutors in Tom Jones, and they also give an indecent account of themselves. The former is cruel and selfish, hypocrisy being his central passion. He quotes from the scriptures to conceal his selfishness, the latter passes for a philosophy, while the only philosophy of life he follows is the gratification of sexual appetite by fair means or foul. Gradgrind is another teacher who, as Dickens paints him Hard Times, sets store by the utilitarian success life. For him, every student is more a number than living entity. He thinks that a child is nothing but fact, ought to be poured. So it is evident that the education system, along with the personage conducting the machinery, an object of criticism right from Shakespeare down to the present age, and a modern novelist like D.H. Lawrence who had occasion to serve as a teacher for a brief period of time shows his concern for methodology of education which, thinks he, calls for the rough modification, even radical reorientation. The Rainbow has, for its central theme, the nuances of human relationships, and as the development of Ursula’s personality is stressed, some light is thrown on her education. Lawrence observes the affairs of education in his times through Ursula who is involved in education both as a student and as a teacher Ursula at times appears to be the author’s alter ego, and the impression of education that Ursula gathers may reasonably be taken for Lawrence's own impression.

Being a Lady! Education's Liberating Embrace: Ursula's Journey

The account of Ursula’s early education is scant in the novel. This much we gather that at twelve Ursula is put to the grammar School at Nottingham, along with her sister Gudrun. Her days at Grammar school give her a sense of release from "the belittling circumstances of life " marked by jealousy and meanness .Subsequently she goes to the High School where the gyres appear to be Ladies , and she also endeavours sincerely to grow into a Lady . It is here that she develops an ardent passion for Latin, Greek, French and Mathematics. She trembles with excitement when she writes the Greek alphabet for the first time

Economic Independence: Journey to Employment: Ursula's Pursuit

After passing her Matriculation Examination, Ursula seeks to have economic independence. So she Looks for a yet, and finally she manages to get a job of teachership in a school in Kingston - on - Thames. But since the school is located in a place far away from her residence her father cancels her joining the post - there. Instead, he secures for her daughter another job in Brinslay street school, situated nearer home.

Personal Approach: Ursula's Idealistic Struggle

Ursula goes to her job with a dream to be realized. She thinks that she will win the love of the little children by virtue of her 'personal approach' to them. She has noticed that teachers are generally hard and impersonal. There is no cordial relationship between the teacher and the taught. But she will give her great stores of spiritual wealth to her children. She believes that teaching should be conducted in a happy and friendly atmosphere. But in a short time she is disillusioned. The Headmaster, Mr Harby is a short, sturdy man fond of using power. She is asked to take charge of the standard Five consisting of 55 children. But her cordial approach is taken by the children in a wrong light. She is often jeered at by children who make the class a pandemonium. It embarrasses the Headmaster who begins to criticize Ursula rather indecently.

“Spare the Rod and Rear the Child ": The Clash of Principles: Education's Rod or Nurturing Hearts

So much so, when Ursula takes her class, the headmaster enters the room and punishes the pupils in her presence. The man has firm reliance on the motto: “Spare the rod and spoil the child" and Ursula is greatly opposed to let. Her motto is: “spare the rod and rear the child ". So, there follows a clash of principles involving the Headmaster and Ursula. One day it so happens that she gets very disgusted with a boy and beats him mercilessly. The result is that the noisy children return to pin - drop silence. Her gesture pleases the Headmaster who appreciates her hard - handed policy in high terms. But the event leaves a serious would on her heart. It marks her withdrawal from the ideal that she values most. Lawrence gives a close account of her remorse: “It seemed as if a great flame had gone through her and burnt her sensitive issue ". 

To Join College as a Student: The Enchanted Halls: Ursula's College Journey

When Ursula’s term at school is over, it is time for her to join college as a student. The Nottingham College to which she is attached stirs her imagination. The Gothic building appears to be a remote magic - Land. She looks at the professions with admiration, and they have the Look of black - gowned priests of knowledge '. She experiences a curious joy in listening to their lectures. She enjoys peaceful afternoon in the Botany Laboratory. The first year she passes with great devotion. 

Four More Idiotic Terms-Sham, Shocking, Stupid, and a Victim: Ursula's Disillusionment: Unmasking Education's Deception  

However, during the second year Ursula's disillusionment follows. The professors no longer appear to be priests initiated into the deep mysteries of life and knowledge. The Latin class appears to be a short of second hand curio shock. The college turns out to be a sham workshop. Lawrence arrests the attitude of Ursula to the college: “All the while it was sham store, a sham warehouse, with a single motive of material gain and no productivity". She thinks that the college is a 'temple converted to the most vulgar, petty commerce'. The professors discourage the exploratory spirit of the student. They only supply tailor - notes, insisting on passing the examination rather then earning knowledge. Degree - hunting becomes the sole objective of college - education. When Ursula expresses her disgust at the system of education to which she has been a victim, she practically stands for Lawrence who could never approve of the contemporary state of education in England.

The Essay Covers These Points:

Studying David Herbert Lawrence's novel "The Rainbow" provides valuable insights into the theme of education. 
  1. 👉The Influence of Family
  2. 👉Traditional vs. Progressive Education
  3. 👉The Power of Individual Learning
  4. 👉Education as Liberation
  5. 👉Education and Sexuality
  6. 👉Nature as a Teacher
  7. 👉The Role of Art in Education
  8. 👉Education and Social Class
  9. 👉The Contradictions of Formal Education
  10. 👉Education as a Continuous Journey
 Ardhendu De  

References
1. The rainbow : Lawrence, D. H. (David Herbert), 1885-1930 : Free Download, Borrow, and Streaming : Internet Archive. (n.d.). Internet Archive. https://archive.org/details/therainbowlawren00lawrrich

Narrative Technique in Conrad's "Heart of Darkness"


Distancing of the Author from the Text and a Scrambling up of the Narrative in terms of Chronology

Joseph Conrad's  Heart of Darkness is a masterpiece of modernist literature, renowned for its powerful narrative technique. The novel employs a complex structure that intertwines multiple layers of storytelling, creating a rich and immersive reading experience. In fact, the final years of 19th century saw a change not only in theme but also in the technique of narration. The change in the narrative technique was two fold – the distancing of the author from the text and a scrambling up of the narrative in terms of chronology. Heart of Darkness, utilizes both these techniques and its narrative technique is in perfect harmony with the theme of psychological degeneration depicted in the book In other to prevent Kurtz’s moral fall from lapsing into obtrusive judgement of the author, Conrad presented Kurtz through the eye of at least one other character whom we can guess and from an opinion about. The story opens as a nameless narrator aboard the cruising yawl Nellie, anchored in the Thames River in England, begins to relate secondhand the story of Charlie Marlow's river voyage in the Belgian Congo.

Critical Essay on the Comparative Use of Symbolism in T. S. Coleridge’s "The Ancient Mariner" and "Kubla Khan"


The Comparative Use of Symbolism in T.S. Coleridge's "The Rime of the Ancient Mariner" and "Kubla Khan"

Introduction

T.S. Coleridge, a prominent figure in the Romantic era, captivated readers with his imaginative and symbolic poetry. Two of his most famous works, "The Rime of the Ancient Mariner" and "Kubla Khan," showcase his adeptness at employing symbolism to convey deeper meanings. In this critical essay, we will explore the comparative use of symbolism in these two poems, examining how Coleridge employs various symbols to enhance the thematic significance of the narratives.

Symbolism in "The Rime of the Ancient Mariner"

The Albatross:

The albatross in "The Rime of the Ancient Mariner" serves as a powerful symbol throughout the narrative. Initially, it represents the beauty and grace of nature, as the mariner describes it as a "bird of good omen." The bird's arrival is seen as a favorable sign, and the crew members even hail it as a bringer of good luck. However, as the mariner impulsively kills the albatross, it transforms into a burden, both physically and spiritually. The albatross becomes a symbol of the mariner's guilt, representing the weight of his sin and the burden he must carry throughout the poem. By killing this innocent creature, the mariner commits a heinous act against nature, leading to his spiritual and psychological torment.

Water:

Water is another central symbol in "The Rime of the Ancient Mariner," representing both life and death. The ocean, with its vastness and connection to the unknown, embodies the mysteries of the universe. It serves as a reminder of humanity's insignificance in the face of nature's grandeur. Moreover, water also symbolizes the cycle of life and death. The mariner's ship is surrounded by water, cutting it off from the rest of the world and emphasizing the isolation and punishment the mariner must endure for his actions. The stagnant water encountered by the mariner after the crew's death becomes a symbol of his own stagnation and the consequences of his sin, trapping him in a state of eternal penance.

The Wedding Guest:

The wedding guest, who serves as the narrator's audience, represents the average individual who is initially reluctant to embrace spiritual lessons. The guest is preoccupied with earthly affairs and disconnected from the natural and spiritual world. Through the mariner's tale, the wedding guest becomes a symbol of humanity's detachment from nature and its spiritual connection. As the mariner captivates him with his story, the wedding guest gradually opens himself to the profound truths and moral lessons contained within it. Thus, the guest's transformation symbolizes the potential for individuals to reconnect with nature and the spiritual realm.

The Ship:

The ship in "The Rime of the Ancient Mariner" symbolizes human society and its potential for destruction. It represents the collective journey that humanity embarks upon, often guided by a blind pursuit of progress and personal gain. The mariner's voyage on the ship becomes an allegory for the consequences of disregarding the natural world and the interdependence between humanity and its environment. As the ship faces various trials, including a lack of wind and the curse brought upon by the mariner's actions, it symbolizes the perils and challenges faced by society as a result of its disregard for nature. Ultimately, the ship serves as a vehicle for the mariner's redemption and self-discovery, representing his transformative journey towards spiritual awakening and awareness of the interconnectedness of all life.

In "The Rime of the Ancient Mariner," Coleridge employs these symbols to convey profound themes of guilt, redemption, isolation, and the consequences of humanity's actions against nature. Through these powerful symbols, the poem explores the intricate relationship between humans and the natural world, urging readers to recognize the significance of our choices and their impact on the interconnected web of life.

Symbolism in "Kubla Khan" 

The Dome and the Pleasure Dome:

The dome and the pleasure dome in "Kubla Khan" symbolize the realm of imagination and creativity. They represent the power of the human mind to construct grand visions and create artistic works. The dome, with its vast and majestic structure, embodies the limitless possibilities of the creative process. It signifies the poet's ability to transcend the boundaries of reality and enter a realm where imagination reigns supreme. The pleasure dome, described as a "miracle of rare device," symbolizes the enchantment and joy that artistic creation can bring. It embodies the fulfillment and satisfaction that artists experience when they bring their visions to life.

The River Alph:

The River Alph serves as a powerful symbol in "Kubla Khan." It represents the source of artistic inspiration, flowing through the poet's mind and nourishing his creative endeavors. The river symbolizes the flow of creativity itself, the stream of ideas and images that fuel the poet's imagination. It represents the poet's ability to tap into this wellspring of inspiration and transform it into poetic expression. The River Alph also highlights the ephemeral nature of inspiration, as it is described as a "sacred river" that eventually disappears underground. This symbolizes the fleeting and elusive nature of artistic inspiration, emphasizing the need to seize it when it arises.

The Abyssinian Maid:

The Abyssinian Maid in "Kubla Khan" symbolizes the Muse or the source of inspiration. She represents the connection between the poet and the divine, acting as a conduit for the poet's creativity. The poet describes the Abyssinian Maid as a "damsel with a dulcimer," evoking an ethereal and mystical presence. The presence of the Abyssinian Maid suggests that the poet's creative inspiration is not solely a product of his own mind but is bestowed upon him from a higher power. She embodies the muse-like figure who inspires and guides the poet's creative process, allowing him to tap into the depths of his imagination and produce his artistic work.

The Mount Abora:

The Mount Abora symbolizes the sublime and untamed nature. It represents the tension between order and chaos, creation and destruction. The mountain is described as a "savage place" and a place of "ceaseless turmoil." It embodies the wild and unpredictable forces of nature, showcasing its awe-inspiring power. The Mount Abora represents the untamed aspects of the natural world that exist beyond human control or comprehension. It highlights the dichotomy between the ordered world created by humans and the vast, uncontrollable forces of nature. The presence of Mount Abora in the poem serves as a reminder of the sublime beauty and terrifying power of nature, urging the reader to recognize and respect the forces that lie beyond human dominion.

In "Kubla Khan," Coleridge employs these symbols to explore the themes of imagination, creativity, inspiration, and the relationship between the human mind and the natural world. Through these symbols, the poem invites readers to contemplate the transcendent power of artistic creation and the awe-inspiring forces of nature that both inspire and challenge the human imagination.

Comparative Analysis

a. Symbolism of nature:

Both "The Rime of the Ancient Mariner" and "Kubla Khan" make extensive use of nature as a symbolic backdrop. In "The Rime of the Ancient Mariner," nature plays a dual role. It serves as a source of punishment, as the Mariner is subjected to harsh conditions and isolation at sea. However, nature also becomes a catalyst for redemption, as the Mariner's spiritual awakening is intertwined with his appreciation of the natural world. In "Kubla Khan," nature represents the source of inspiration and the sublime. The landscape described in the poem evokes a sense of awe and wonder, emphasizing the power of nature to spark the poet's creative imagination. Both poems highlight the profound influence and significance of nature in shaping human experiences and emotions.

b. Symbolism of guilt and redemption:

Guilt and redemption are significant themes in both poems. In "The Rime of the Ancient Mariner," the Mariner's guilt is symbolized by the killing of the albatross. The bird becomes a burden, representing the weight of the Mariner's sin. However, through his arduous journey and penance, the Mariner seeks redemption and spiritual renewal. Similarly, in "Kubla Khan," the poet seeks redemption through his creative powers and the act of artistic creation itself. The act of composing the poem becomes a means of catharsis and transcendence, allowing the poet to escape from guilt and find solace in his imaginative realm. Both poems explore the themes of guilt, redemption, and the transformative power of acknowledging one's wrongdoing.

c. Symbolism of the imagination:

"The Rime of the Ancient Mariner" and "Kubla Khan" both delve into the realm of the imagination, emphasizing its significance in the creative process. In "The Rime of the Ancient Mariner," storytelling and imagination play a central role. The Mariner's tale serves as a powerful means of communication, allowing him to convey the depth of his experiences and impart moral lessons. The poem highlights the ability of imagination to transcend the boundaries of reality and connect individuals on a deeper level. In "Kubla Khan," the poet's imagination takes center stage as he constructs vivid and fantastical imagery. The poem explores the boundless potential of the human mind to create awe-inspiring visions and delve into the depths of inspiration. Both poems underscore the transformative and enlightening capacity of the imagination.

Conclusion:

In summary, T.S. Coleridge employs symbolism in both "The Rime of the Ancient Mariner" and "Kubla Khan" to explore the themes of nature, guilt, redemption, and the power of imagination. Both poems serve as exemplary works of Romantic poetry, highlighting the profound impact of symbolism in evoking emotions, provoking thought, and conveying deeper truths about the human experience. While nature represents punishment and redemption in "The Ancient Mariner," it serves as a source of inspiration in "Kubla Khan." Guilt and redemption are significant themes in both poems, with symbolism used to represent the burden of sin and the quest for spiritual renewal. Additionally, the poems emphasize the profound influence of imagination in storytelling, artistic creation, and the exploration of the sublime. Through these shared themes and symbols, Coleridge's poems showcase the richness and complexity of human experiences and the interconnectedness between nature, guilt, redemption, and the imagination. 


References
1. Stoll, E. E. (1948). Symbolism in Coleridge. PMLA, 63(1), 214–233. https://doi.org/10.2307/459414
2. McDonald, D. (1964). Too Much Reality: A Discussion of “The Rime of the Ancient Mariner.” Studies in English Literature, 1500-1900, 4(4), 543–554. https://doi.org/10.2307/449508
3. Grant, Allan, A Preface to Coleridge, 1972.
4. The rime of the ancient mariner : Coleridge, Samuel Taylor, 1772-1834 : Free Download, Borrow, and Streaming : Internet Archive. (n.d.). Internet Archive. https://archive.org/details/rimeofancientmar00coleuoft
5. The Romantic Imagination : C.m.bowra : Free Download, Borrow, and Streaming : Internet Archive. (n.d.). Internet Archive. https://archive.org/details/in.ernet.dli.2015.72367
6. Kubla Khan, a Vision : Samuel Taylor Coleridge : Free Download, Borrow, and Streaming : Internet Archive. (n.d.). Internet Archive. https://archive.org/details/nby_84887

"A Portrait of the Artist as a Young Man" By James Joyce: Model Test


F.M-50                                                  Fiction                                             TIME- 2hr.

A Portrait of the Artist as a Young Man
By James Joyce

1. Answer any Two:-   10*2= 20

 a. Briefly analyze the three main principles of the theory of aesthetics put together by Stephen in A portrait…….? What is known as Thomism?

 b. Define the role of epiphany in A Portrait. Does the epiphany add any special                              meaning in under standings Stephen’s Personality?

c. What are the positive and negative aspects of Stephen Dedalus’ character?

d. . In the beginning of the book, Stephen, wrongly punished by Father Dolan, overcomes his fear to speak with the rector of Clongowes, Father Conmee. What does he learn as a result of this episode? How does his encounter with these two men influence him later in life? 
2. Write Critical note (any Two):- 6*2= 12

  1. His eyes were dimmed with tears and looking humbly upto heaven, he wept for the income he had lost – comment.
  2. A traitor; an adulterer! The priests were right to abandon him – comment.
  3. Define the bird image in A Portrait…
      d. By the end of the novel, Stephen has resolved to leave Ireland.

3. Fictional term (any four) :- 3*4=12

Bildungsoman, Point of view, Aesthetic Autobiography, Stream of consciousness, Symbolism, villanelle,
4. Short questions (any six) :- 1*6=6

  1. Who the Aubrey Mills is? How is he remembered by Stephen.
  2. Who called Stephen as ‘a lazy idle little toaler’? Why?
  3. Who were involved in the Christmas Dinner dispute and for what reason?
  4. Give two instance of the school boy slang used by Joyce?    
  5. Who are Eileen, Mercedes, E.C?   
  6.  Joyce’s fictional autobiography is episodic in nature: What is the effect of this method of structuring the story?
  7. Where is Clongowes School?
  8. How would you describe Stephen’s relationship with his family?        Ardhendu De  

"Sailing to Byzantium" by W. B. Yeats: Voyage of the Inner Spiritual Essence into the Wisdom and Freedom


Introduction

Sailing to Byzantium, one of  W. B. Yeats’ masterpieces is organized round the dichotomy of flesh and spirit, nature and art where the sea symbolizes the energetic vitality of the former. As Yeats advanced into old age he continued to be troubled by the passions. The voyage in this poem is thus an inner voyage of spiritual awakening. To wards wisdom and freedom from the enslavement to nature. Quite apart from the special meaning that Byzantium has in Yeats’ system, historically it was the meeting point of the Pagan and Christian civilization. The poem carries a symbolic pattern and a mystic philosophic notion is derided. It takes readers on a metaphorical journey, symbolizing the voyage of the inner spiritual essence towards wisdom and freedom. Through vivid imagery and poignant language, Yeats explores the themes of mortality, art, and the longing for transcendence.

A Journey and the Byzantium

There has been a multiple interpretation of Yeats’ symbols and imageries. Sailing to Byzantium is no exception. It is a journey of metaphysical content and the destination is Byzantium En-route Sea. Byzantium is the excellence of art, glory of self and emblem of beauty. It is a journey for excellence, for supremacy, for artistic exuberance and for self realization of consummate and conscious artist. Byzantium represents a mythical, timeless realm where the spiritual and the artistic thrive. Yeats envisions himself as an aging man, physically decaying and disconnected from the vibrancy of youth. Seeking rejuvenation and immortality, he embarks on a symbolic journey to Byzantium, leaving behind the physical world and its limitations.

Yeats portrays the city of Byzantium as a sanctuary where the wisdom of the ages is preserved. He seeks to merge with the golden mosaics, the statues, and the sages of this mystical city, suggesting a desire to transcend the confines of mortal existence and achieve a state of eternal knowledge and freedom. Through this metaphysical journey, Yeats yearns to transform his own being, shedding his mortal form and embracing a timeless, spiritual existence:
"And therefore I have sailed the seas and come
To the holy city of Byzantium."

Journey of the Soul

A recent study in Yeats has shown that Yeats has had spiritual knowledge of Yoga and Upanishada, particularly of Patranjali’s Yoga Sutra, which was translated into English by Yeats himself in 1936-37. The book contains the journey of soul, rebirth, and doctrine of Samadhi. The poem Sailing to Byzantium is a display of this learning.

Yeats beings his poem by mentioning that life is itself a journey – a soul’s journey through the countries of childhood, youth and old age. His own soul has already journeyed through the countries of sportive childhood and sensual youth. Commenting on the youthful vigour he compares it to a period of procreation and sensual appeal. Under an urge of mating young birds tune in. the soul of fish with their burning  passion of sex, copulate and spawn –
              "The salmon – falls the mackerel – crowed seas,
               Fish, flesh, or fowl, commend all summer long
               Whatever is begotten, born, and dies."
The youth is meant for celebration, for emotional attachment, for sensuality and for concern of spring.

But such the country of youth is none a place the old poet – ‘that is no country for old men.’ The youths are caught in the sensual music and totally ignore the ‘monuments of the unageing intellect.’ Thus, the youths do not know the immortality of intellectual supremacy of Yoga, the knowledge of soul which the poet finds a monument. The poet’s old age is weak in physicality, sensuality and rejuvenation and fecundity. He finds himself a scarecrow – ‘a tattered coat upon a sick’, an image of ugliness and decay. He finds none of the songs of his soul. He has thus, voyaged and reached the holy city of Byzantium to record his soul’s content.

The Journey is No Physical rather a Spiritual

Yeats is on his seat to go yogic Samadhi. When a yogi intends to go into Samadhi, he withdraws the power of the senses and centralized them into the mind. Here the powers of senses are compared to ‘sages’ standing in the fire of prana which may be called ‘God’s holy fire.’ The senses are like gold mosaic of a wall. The poet bids them to come back to his mind being in control of the self just as a flying pern comes back to his master after circular flight. If the Samadhi is complete, the yogi learning will consume the material and sensual drawbacks and gradually he should be an artifice of eternity, of self effulgent, of unegoing and perfection –
     Consume my heart away; sick with desire
      ………………………………………….
      ………………… ; and gather me
      Ito the artifice of eternity.
In the concluding stanza the poet wishes to continue his yogic Samadhi. None of the physical approach worldly riches or extra should have an impact on him. On the contrary, he shall mention his Samadhi posture for ever. He shall keep sitting like statue ever made by Greek Goldsmith out of gold and coated with enamel. He should keep his posture intact in order to keep his soul, the Emperor of nature universe, awake to its eternal glory. He wishes to attain an absolute freedom from the sickles of his mind and body through the doctrine of Yoga Sutra. The absolute Samadhi would lead him into samaskaras, knowledge of absolute. He can relate then – ‘of what is past, or passing, or to come.’

Conclusion

In "Sailing to Byzantium," W.B. Yeats encapsulates the universal human longing for transcendence and immortality. Through the metaphor of a voyage to Byzantium, he conveys the inherent tension between the physical world and the realm of the spirit. The poem invites readers to contemplate the nature of existence, the power of art, and the eternal pursuit of wisdom and freedom that resides within the depths of the human soul. Apart from the spiritual analysis the Byzantium can be read as a study of heightened consciousness, an eternity specific to art etc. the awaking or learning of the Emperor of our artistry, spirituality and intellectuality. Sailing to Byzantium is thus rich in complexity, concrete in experimenting, irreducible threads.


References
1. Yoga Sutras Of Patanjali : Free Download, Borrow, and Streaming : Internet Archive. (n.d.). Internet Archive. https://archive.org/details/yoga-sutras-of-patanjali

2. Full text of “William Butler Yeats’s Search For A Spiritual Philosophy.” (n.d.). Full Text of “William Butler Yeats’s Search for a Spiritual Philosophy.” https://archive.org/stream/WilliamButlerYeatssSearchForASpiritualPhilosophy/WilliamButlerYeatssSearchForASpiritualPhilosophy_djvu.txt

3. W B Yeats - Collected Poems, 1889-1939 : W B Yeats : Free Download, Borrow, and Streaming : Internet Archive. (n.d.). Internet Archive. https://archive.org/details/WBYeats-CollectedPoems1889-1939

4. Text of “Sailing to Byzantium.” https://archive.org/stream/in.ernet.dli.2015.36339/2015.36339.Sailing-To-Byzantium_djvu.txt

“The Lagoon” by Joseph Conrad: Theme and Making of Short Story


Exploring the Depths: Themes and Crafting of Joseph Conrad's 'The Lagoon'

The Interwoven Tapestry of Themes in Conrad's 'The Lagoon'

The soul of the short story is brevity, and critics would aver unity, too. Joseph Conrad who is usually famous for his novellas, uses a relatively shorter from in "The Lagoon," but detractors would claim that there is paraphernalia of themes marring the strict unity of effect. Although the short story rarely has the scope for anything more than a bore incident, Conrad’s short story is unique in its portrayal of an almost entire life. It is a sage of life that involves four diverse themes death, love, courage and guilt to select one among the four as the focal theme would appear an impossibility since Conrad’s mastery of the art makes the four themes interanimate each other. The theme of "The Lagoon" by Joseph Conrad revolves around the concepts of Love, Isolation, Fear, and the Unpredictable Nature of Human Existence. The story explores the psychological and emotional struggles faced by the main character, Arsat, as he grapples with his past and confronts his situations.

The Grim Dance of Darkness and Death

 The entire short story diffuses an atmosphere of darkness and death. At first glance, the story would almost qualify for the Stevensonian tenet that the primary element in a short story may be a distinct atmosphere, the character serving only to enhance the effect. The entry into ‘the portals of a land from which the very moment of motion had for ever departed’ suggests the somber nature of the settling. Darkness appears ooze from the dense forest and when the white man reaches Arsat’s clearing, the first question that the European is whether he is in possession of any medicine. The description of the ill woman suggests the presence of death:
                         “………… on the young face there was the
                           Ominous and fixed expression – the absorbed,
                          Contemplating expression of the unconscious
                           Who are going to die?”
                Even the white man is drawn into sympathy and move to horror and fascination at ‘the inspiration and the wonder of death’. The proximity of death which is unavoidable and uncomforted made the stillness of the surrounding appears “untrustworthy and infamous like…. Unjustifiable violence.” The prince of death inhuman life makes the concept of starlight peace of mockery and the earth appears to be a battlefield of deadly beings. Arsat, after the eventual death of his beloved speaks out with philosophic cynicism:
                  " There is no light and no peace in the world,
                    But there is death – death for many."

The Unyielding Power of Love

Yet the tale is even more explicitly one of the desires of man for woman and of woman for man. Even while Arsat is standing by the beloved’s death bed, he decides to tell the white man the long- hidden story of the love: “I shall speak to you of love…….. Speak before both night and love are gone.” Throughout the night he recapitulates as if in a reverie how he could see nothing but one face and hear nothing but one voice, when he first fell in love with Diamelen. With exquisite sensitivity Arsat describes how he fed the longing of his heart on short glances and stealthy words, how they spoke to one another through the scent of flower and veil of leaves and how he finally decided to take the woman with him even at the expense of becoming a social and moral out- cast. The intensity of Arsat’s love is evident in the face that when she has ceased to be Arsat can see nothing:
                          “Now I can see nothing – see nothing!”

The Saga of Courage and Love Unbound

The Lagoon is also, in a way, sage of adventure. The tale of his elopement with Diamelen with the assistance of his brother is a romance rarely paralleled in real life. He was a courageous man and he could not bear the thought of not executing his plan of snatching Diamelen from the midst of men: “I began to think of killing and of a fierce death ….” He declares that he belongs to a clan (Race) of people who take what they want. Although the forces ranges against him have ‘might’ and ‘authority’ he has ‘love’ and ‘strength’ and ‘courage’. The brother is even more courageous man, who would like to take his object not as a fugitive or a sneaking thief but in the face of strong apposition. The brave Inchi Midah’s fury and their own ruler’s sword and escape with Diamelen when they are pursued, the younger brother resist still he is struck down, but Arsat and his beloved succeeded in escaping.

The Weight of Guilt and Sacrificial Love

The lover and the courageous man that he is, Arsat is seen to suffer from his guilt which so corrodes him as to be deemed (considered) one of the most important themes of this short story. The love between the brothers was so strong as to withstand even the fury of an entire race. His brother’s words still ring in Arsat’s ear: “you take her from their midst we are two who are like one.” The brother, a valiant man who would fain shout defiance resist the temptation and accepts a relatively dishonourable slinking a way only in order to please Arsat. When they are at last spotted, the brother vows to keep their pursuers off until they can launch their boat and to climb in at the last moment. He had only a gun with only a little powder but he managed to stave off the attack for a while. When he finally started towards the boat he stumbled and Arsat pushed the canoe from the shore, disregarding his brother’s fervent cry, he knows that they would not be able to escape if he tried to save his brother. His disquietude is evident in his quite words: “Juan, I loved my brother.”

The Unifying Power of Love in Conrad's 'The Lagoon'

The germinal idea is perhaps that of love for all the other aspects be it the death of his beloved, the death of his brother, their own adventure and the final sense of guilt are all sub seemed under the motivating principle of love. Arsat may have regrets for his brother, but who can deny that he chose the higher right for a lesser one. Thus in spite of being concerned with almost an entire life like Washington Irvin’s "Rip Van Winckle" or "Maupassarit’s Le Parure", "The Lagoon" has the unity of a brief story such Lawrence’s "The Odour of Chrysanthemums "or Poe’s "The Cask of Amontodillo."

Conclusion

"The Lagoon" by Joseph Conrad discusses the role of love as the motivating force behind various aspects of the story. It highlights how love influences Arsat's actions and decisions, including his feelings towards his deceased beloved, his brother, their shared adventure, and his eventual sense of guilt.  Conrad's "The Lagoon" becomes a "Solitude's Embrace",   "Echoes of Fear", "Tides of Destiny""Island of Secrets", "The Haunting Waters""Lost Horizons", "Abyss of Memories", or a "Journey to Redemption" for Arsat. Amidst this eerie silence, Arsat, a tormented soul burdened by guilt, sought refuge on a small, secluded island within the lagoon. Haunted by the memories of his past, Arsat found solace in the isolation of the island. Each day, he would listen to the whispers carried by the wind, telling tales of love, betrayal, and the relentless passage of time. The lagoon became his confidante, an eternal witness to his innermost thoughts.


References
1. The lagoon : Conrad, Joseph, 1857-1924 : Free Download, Borrow, and Streaming : Internet Archive. (n.d.). Internet Archive. https://archive.org/details/lagoon0000conr

Poetic Term: Heroic Couplet, Rhyme Royal, Ottava Rima


Heroic Couplet

Two line of rhymed iambic pentameter is known as heroic couplet. It is often used in epic and narrative poetry. Each line typically contains ten syllables and follows the rhyme scheme AA, BB, CC, and so on. The term heroic is applied to it in the late 17th century when the frequent use of such couplets formed the heroic poems or epical poems and heroic dramas. 

In English Chaucer is the innovator whose The Legend of Good Women and must of The Canterbury Tales are written in the rhyme style. The other masters are William Shakespeare, Alexander Pope, Dryden, and Samuel Johnson etc.
Example:
 “No Then thyself presume no God to Scan;
 The proper study of mankind is man”
      The Essay on Man      ---   Pope
Example:
"So long as men can breathe or eyes can see,
So long lives this, and this gives life to thee."
William Shakespeare, Sonnet 18

Character of Bluntchli in G.B. Shaw’s "Arms and The Man"


G.B. Shaw's "Arms and The Man": Exploring the Character of Bluntschli

The Dual Nature of Captain Bluntschli: A Balanced Hero in G.B. Shaw's Arms and The Man

The son of a rich hotel-keeper and a professional soldier serving in the Serbian Army, Captain Bluntschli is the hero of G.B. Shaw’s plays "Arms and The Man". A perfect man with a charming personality, Captain Bluntschli strikes a balance between two opposite elements in human nature. On the one hand he is prosaic, matter of fact, cool and calculating with a practical common sense and never-failing presence of mind, having a quick and almost mechanical capacity for action. On the other hand he is reckless adventurous and sentimental with an incurably romantic disposition. But these two elements, though they are contradictory to each other, are found in him combined in a perfect poise. Instead of being contradictory they have rather become complementary to each other. Nevertheless, he has come weak points in his character. He is lacking in imagination and eloquence. He is not a splendid talker though he is quick at repartee and possesses a keen sense of humour.

The Transformation of Captain Bluntschli: From Vanquished Soldier to Perfect Gentleman

Captain Bluntschli first appears in the play as a vanquished soldier running away for life. Desperate through fear and exhaustion, his sole motive is self-preservation. He acts with great practical efficiency and prefect self-confidence. He succeeds admirably. He rouses Raina’s pity and persuades her to save his life even by telling a life. Being fairly out of danger, he becomes easy, natural and courteous in his manners. He behaves with Raina like a perfect gentleman.

Bluntschli's Role as a Disillusioning Force in "Arms and The Man"

Bluntschli is a through realistic and has no illusion for anything. So he has developed a cynical contempt for superfluous attitudes and sentiments. He confronts Raina’s illusions of war and heroism with facts and practical common sense. He makes her indignant by revealing to her the secret of success of her lover and ideal hero. However, he is finally able to explode her romantic notions of war and heroism and rouse her pity and sympathy by his plain speech, blunt manners and anti-romantic viewers. And before he leaves the house he has already become Raina’s Chocolete cream soldier and her ‘poor darling’ to merit even a souvenir from her.

Bluntschli's Realism: Unmasking Illusions and Mediating Love in G.B. Shaw's "Arms and The Man"

The hardcore realist and veteran soldier, Bluntschli again comes back to Major Petkoff’s house ostensibly to return the coat with which he was sent away as a refugee but really to have another look at Raina. Bluntschli shows himself a practical man of business by helping Major Petkoff dispose of some puzzling military affairs. But what he does best is to dismantle the make-believe-word of romantic in Raina. He displays his worldly wisdom into human nature by helping Raina discover her real self and get of her romantic illusions of love and marriage. First he plays the mediator in the quarrel between Raina and Sergius. He makes an earnest effort for reconciliation between the quarreling lovers.  

But when circumstances prevent it and they finally break off their engagement, he offers himself as a suitor for Raina’s hand. He does this since he is already convinced that Raina loves him. His union with Raina under the circumstances it comes off, illustrates his incurably romantic disposition. But romance, in his case, is not sentimental. It is clear sighted logical romance.

Captain Bluntschli: Shaw's Proto-type of the Superman and Raisonneur in 'Arms and The Man'

Shaw’s principal object in "Arms and The Man" is to expose the utter hollowness of romantic illusions about war and marriage and to hold up to ridicule the inherent absurdity which lies in these age-old human institutions. But, besides this, the play seems to contain a veiled statement of Shaw’s idea of the evolution of the ‘superman’ which dominated his imagination all through his life and which he elaborated so nicely and explicitly in a later play. Captain Bluntschli may be taken as the proto type of the superman whose evolution was an article of faith with Shaw as the inevitable destiny of man.

In order to state his views explicitly, the problem playwright sometimes introduces to raisonneur, who moves through the plot as a philosophic to speculative, and acts as another’s spokesman or accredited representative. The raisonneur generally has an air of superior wisdom, and his utterances has special weight or authority. Bluntschli in "Arms and The Man" acts as raisonneur; who being the spokesman of the author criticizes the romantic ideals of war and love. According to A.C. Ward, Shaw has portrayed Bluntschli as a paragon of equilibrium and sound judgment. This perspective is reinforced by Bluntschli's reply when questioned about his social status: "My rank is the highest known in Switzerland. I am a free citizen." In this statement, Shaw's socialist objectives become apparent. The rational hero of Shaw's play is the middle-class republican, shaped by the values of freedom and democracy in society and acts as raisonneur.

Conclusion

In conclusion, the character of Captain Bluntschli in G.B. Shaw's "Arms and The Man" serves as a symbol of rationality and balance. Through Bluntschli, Shaw exposes the hollowness of romantic illusions about war and love while subtly presenting his idea of the evolution of the 'superman.' Bluntschli's portrayal as a middle-class republican reinforces Shaw's socialist agenda and highlights the values of freedom and democracy.

Ardhendu De 

References:
1. Full text of “Arms and the man; an anti-romantic comedy in three acts.” (n.d.). Full Text of “Arms and the Man; an Anti-romantic Comedy in Three Acts.” https://archive.org/stream/armsthemanantiro00shawuoft/armsthemanantiro00shawuoft_djvu.txt
 2.     Ward, A. C. Arms and the Man. (Ed.) Orient Blackswan pvt, Chennai, 2011.            

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