A.K.Singh's View on Translation

Name :-Darshangi Andharia K.

Paper no:-05 Translation Studies 

Topic :-A.K. Singh's View on Translation

Sem :-III Part:-II

Year:-2012-2013

Submitted to,

Dr.Dilip Barad 

Dept. Of English

M.K Bhavnagar University

Bhavnagar

What is translation?

             Translation is the interpretation of the meaning of a text in one language which is known as source language and the production in another language, of an equivalent text which is known as target text or translations that communicates the same message. It is, in that sense a bridge that makes the journeys into newer territories of alien literature.

             Avadhesh kumar has discussed about outs nature and strategies, and he has discussed his essay with the experience of Milan Kundera  when The Jock was translated. When he himself has read all those work he felt surprise because in all of the translation some major changes were done by the translator. He says in France, the translator rewrote the novel by ornamental language, in England, the publisher cut out all the reflective passages, eliminated the musicological chapters, changed the order of the parts, recomposed the novel. Through that epigraph he says that translation has often been condemned as an act of violence-parasitic an subservient to creative act. It is second hand product ignited by an already existing work.

             He further discussed about T.S Eliot’s view that language is disconnected from reality. The moment writing commences the disjunction between author “Enters onto his death.” It is the death of empirical author who employs language to express himself. It is the language which speaks not the author, for author fails in mastering the language. In the process of mastering language he ‘surrenders’ himself to language and becomes it servant. Baths here death of ‘Historical’ and implied author as well. In non existence of the implied reader, the text fails in finding a fixed meaning but a “Plurality of meaning and irreducible plurality.” The meaning of the text exists in the system of rules and conventions-not in the text itself as believed for long.

              A.K Singh accept the idea of ‘Decentering’ presumes presence of center before it was disinterred and thus followed reentering which is given by Jaques Derrida.And the moment we are in view of the center, the author creeps in. Thus Derrida at least succeeded in pushing the author to periphery. There is no denying the fact that translation is an act of violence. But creative act too, if examined closely, terms out to be an act of violence, we would try to see that creativity too is an act of violence in the sense criticism is an act of violence.

              There are five stages in the process of creation like

(1)Experiential/perceptional intentions

(2)Systemic/linguistic intentions

(3)Authorial/writer intentions

(4)Textual intentions

(5)Reader intentions

       In the initial stage the creator wrestles with his/her experiences and perceptions. When a situations, event or experience, real an imaginative, factual or factional. But prier to its textual formation the systematic/linguistic intentions clash with experiential intentions. The author surrenders himself to linguistic system in the process of mastering it but the system too does mat remain unaffected when it trams grasses other of intentions. Language is an artificial system and it perpetuates artificiality as may be witnessed in emptiness of the language of social translation.  However incompetent artificial and limited system may be, it is the only articulating device that serves as social and mental ‘Safety valve’ by giving an outlet to surging complication .Nevertheless, as it deals with experiences real and unreal ‘Bitten’ and ‘Beautiful’ it contrast some of the properties of these perilous problem and at times get trapped in itself.

              It is also to be admitted that language/linguistic as a medium of articulation suffers from limitation, incompetence and in adequacies. That is why the linguistic meaning weavers so much. It has failed in coping with demands for newer idiom capable of expressing increasingly complex experience, perception and realities rendered more complicated by every fleeting moment of explosion of new experiences, sicknesses, situations and sensations. The experiential and perceptions intentional are conditioned violently by linguistic system and than by authorial intention and limitations and further by textual intentions. Which constraint authorial intention, its possible interpretation, its form and medium. Thus, the authorial intentions tri to grasp certain experience/experiential intentions with the help of linguistic system, and authorial intentions wrangle with textual intentions. And the ultimate synthetically issue of this continuous yet invisible violence results in a creative work.

            In the last stage text goes through violent processes at the hands of reader –critic it is inconceivable to indulge in critical enterprise without doing some-sort of violence to the work concerned. It is ironical may e even tragic to some that violence and critical acts are inseparable as Barthes called criticism as an ‘Act of Violence.’ Violence is centripetal to critical exercise. As a critic lays his hand on a creative work to criticize or create meaning, there beings a tug of war in intentions particularly between ‘Authorial intentions’ and ‘Reader intentions’ to use archaic physiological terms. It is reader critic who sees the work he wants to see it and the work becomes what this reader critic intends it to be. As the text is ‘Dead’ It’s beauty and ugliness to a good measure depends on the way of viewing it. Thus, creation of a new text outside the text rests on violence –Gentle, invisible and creative violence. This new text  and meaning are created through subtle persuasive violence of the text by competent reader-critic. This reader imposes his intentions on the text and creates his own text which is resisted by textual intentions and at times he may react so violently to the text that he may reject the textual intentions and make his own text absolutely different from the text itself.

           Translation is an extension of creative exercise in the same sense as critical act is extension of creative exercise characterized by almost the same process. Translation is like serving two masters. It is a demanding task as the translator is in continuous quest of proper words. Translation helps in preserving ancient literary and cultural heritage. When translator translates language one translates culture. Thus translation becomes a cross cultural event.

           He ends his essay with question that “Can the author be the ideal translator?” And gives the example of Ravindranath Tagore’s work “Geetanjali” and he says that no author should do wait for other translator for itself in deference period and ages and responded to its emotional and social needs.          

         

  

Significance of the title" The Purpose"

Name :-Darshangi Andharia K.

Paper no:-04

Topic :-Significance of the title "The Purpose" And Character of Ekalavya

Sem :-III Part:-II

Year:-2012-2013

Submitted to,

Dr.Dilip Barad 

Dept. Of English

M.K Bhavnagar University

Bhavnagar

Significance of the title

              Kailasams interest in the epics was a result of his life long search for greatness in the world of man. ‘The search for greatness in human nature’. ‘Kailasam’s own explanation of the reference.’ The men and women of the Mahabharata are human beings. They have in them the things we ourselves have-love, hate, qualities-through in a much grater proportion. ‘The Purpose’ ,a play in two acts, is about Ekalavya, the great Nishada Youth, whose devotion to his Guru Drona is an absolute as his compassion for poor fawns in his wolf infested forest. Ekalavya’s tragedy comes out of the conflict between these two loyalties of his and the consequent of his “Purpose” He insists on the importance of education in purpose. A whole hearted willingness on the part of the Guru to teach his pupil. What we have in his plays is his small but significant effort to perceive and convey an original pattern of reinterpretation of traditional myths.

The purpose of Dronaacharaya:-

                      In the play he has his own purpose to teach. To teach and to motivate his pupils when they are learning. When Ekalavya comes and said him to teach archery, he wants to teach him but because of his promise he can’t teach him willingly. His promise was that he will teach only Aryan. But in the form of his idol his desire fulfill to teach Ekalavya. He motivate the pupils for e.g Sahdeva:- Gurujee! I cannot use this bow! It is too big for me! I c a nn o t  even lift it! Drona says For, if it is the bow that is too big for you, no one can make that BOW smaller; but if it is YOU that is not big enough and strong enough to lift and use that bow... you can make yourself big enough and strong enough... can you not?

The Purpose of Bheeshma:-

                 Bheeshma wants their grandchildren to learn fast because he wants rest from responsibilities and he wants his children to take their responsibilities because he is tired of body, mind and soul. Bheeshma:- I am tired, Aachaarya, tired of body, mind and soul! I want rest! A long and final rest!

The Purpose of Arjuna:-

                When Arjuna talks to Bheeshma about his purpose behind learn archery is his personal ambition to be the most famous archer of the all time, and Bheeshma felt bad after listening the word personal. He gives him suggestion and Arjuna replies him Perhaps I should have been right if I had said that I want to attain perfection at archery? And Drona also said him that your aim is wrong. Rona:- Your AIM, Paartha, is just this: TO ATTAIN FAME AS AN ARCHER! No more! Every moment you spend at work, your mind is FULLER of thoughts of the DAY WHEN YOU'LL BE ACCLAIM'D AS THE VERY GREATEST ARCHER OF ALL TIMES, than of thoughts of the work itself! Be honest now, and confess that I am right! And Arjuna replies Yes, Gurujee, you are right.

The Purpose of Ekalavya:-

                 His mother’s willingness for her son to make him greatest archer in the world. And his own purpose is to kill all the wolves and make the forest free from them. When Drona said him no he gives him reply like this Do not think of ME sir! For if you only think of me... and my low caste... and my ambition as being above my blood and birth, sir... you may perhaps not want to teach me! BUT THINK OF THE POOR FAWNS, Sir! Think of them... night and day in terror of the wolves! Which sows his aim to learn archery?

The Purpose of The writer:-What is the main purpose behind this is may be make us aware and to give glimpses of the true character of Ekalavya rather than Arjuna. To give importance to nishada. He wants to make each caste equal. if your purpose is good or higher then no one creates barrier or boundaries to your ambition. No castism in the society.

Character of Ekalavya:-

               Kailasam has created very different character of him. He is nishada boy but his ambition is much higher than his caste. When he comes to Drona and put request that will you teach me archery? But he does not teach him because of his caste. He is much faster than Arjuna in learning because when Drona was teaching Arjuna he was making mistakes but Ekalavya was learning consciously.Ekalavya:- CON... CEN... TRA... TION... is it? I must remember that! He speaks!

               Even his love for his Guru shows in his dialogue that I adore him too. His proud for his archery is shown when Arjuna is speaking with him and said him liar. He said If you have a mother let not my fear of making your mother lose her son... embolden you to call me a liar! And his love his devotion shows when he gives thumb to Drona as dakshina for his Guru’s status.

Plato's Objection to Poetry

Name: Darshangi Andharia

Paper no: 03: Literary Criticism

Topic:Plato's objection to poetry

Sem: III, part:-I

Year: 2012-2013 

Submitted to,

Dr.Dilip Barad, 

 M.K.Bhavnagar University,

Bhavnagar.

                  Plato was the most distinguished disciple of Socrates. the 4^th  century BC to which he belonged was an age of inquiry and as such Plato’s chief interest was philosophical investigations which form the subject of his great works in form of dialogues. He wasn't a professed critic of literature and his critical observation isn't found in any single book. They lie scattered in seven of his dialogues, more particularly in the Jon, the symposium, the republic and the laws.                                      

                  He was the first systematic critic who inquired into the nature of imagination literature and put forward theories which are both illuminating and provocative. He was himself a great poet and his dialogues are the classic works of the world literature having dramatic, lyrical and fictional elements.

                  He gives the theory of mimesis (imitation) The arts deal with illusion or they are imitation of an imitation, Twice removed from reality. As a moralist Plato disapproves of poetry because it is immoral, as a philosopher he disapproves of it because it is based in falsehood. He says that philosophy is better than poetry because philosopher deals with idea/truth, whereas poet deals with what appears to him. He believed that truth of philosophy was more important than the pleasure of poetry.

                  According to him all arts are imitative or mimetic in nature. He wrote in the “Republic” that ideas are the ultimate reality. Things are conceived as ideas before they take practical shapes. So, idea is original and the thing is copy of the idea of chair in his mind. Thus, chair is once removed from reality. Thus, poet/artist takes man away from reality rather than towards it. Thus, artist deals in illusion.

               Plato’s three main objections to poetry are that poetry is not ethical, philosophical and pragmatic, in other words, he objected to poetry from the point of view of education, from philosophical point of view and from moral point of view.

               It is not ethical because it promotes undesirable passions, it is not philosophical because it doesn't provide true knowledge, and it is not pragmatic because it is inferior to the practical arts and therefore has no educational value. Plato than makes a challenge to poets to defend themselves against his criticism. He ranks imitation on a lower plane than narrative, even through his own works read like dramatic scripts. It appears as through his reasoning is that imitation of reality is not in it self bad, but imitation without understanding and reason is bad.

              Plato felt that poetry, like all forms of art, appears to the inferior part of the soul, the irrational, emotional comedy part. The reader of poetry is seduced, in to feeling undesirable emotions. To Plato, an apparition of poetry is incomparable with an apparition of reason, justice and the search for truth. He suggests that poetry causes needless lamentation and ecstasies at the imaginary events of sorrow and happiness. It numbs are faculties of reason for time being, paralyses the balanced thought and encourages the weaker part of soul constituted of the baser impulses. Hence poetry has no healthy function, and it cannot be called good.

              To him drama is the most dangerous form of literature because the author is imitating thing that he/she does not understand. Plato seemingly feels that no words are strong enough to condemn drama. Plato felt that all the world’s evils derived from one source: a faulty understanding of reality. Miscommunication, confusion and ignorance were facts of a corrupted comprehension of what always strives for truth.

             His primary objective in the “Republic” is not come up with the most righteous, intelligent way to live one’s life and to convince others to live this way. Plato’s question in book X is the intellectual statues of literature. He statues that, the good poet cannot composed well unless he knows his subject. He who does not have this knowledge can never be a poet. Plato says of imitative poetry and Homer, a man is not to be reverenced more than the truth. Plato says this because he believes that Homer speaks of many things of which he has no knowledge, just as the painter who paints a picture of chair doesn't necessarily know how to make a chair. His point is that in order to copy or imitate correctly, one must have knowledge of the original. Plato says that imitation is twice removed from the truth. Stories that are untrue have no value, as no untrue story should be told in the city. He states that nothing can be learned from imitative poetry.

           In book II and III Plato’s main concern about poetry is that children’s mind are too impressionable to be reading false tales and misrepresentation of the truth. Plato reasons that literature portrays the Gods as behaving in immoral ways should be kept away from children, so that they will not be influenced to act the same way.

         Plato has some very negative views on the value of literature, he also states the procedures that he fills are necessary in order to change poetry and literature from something negative to something positive. He does feet that some literature can have redeeming values. Good, truthful literature can educate instead of corrupting children. Plato does not want literature to corrupt the mind, he wants it to display images of beauty of grace.  

          

  

              

Anti Sentimental comedy

Name: Darshangi Andharia

Paper: 02 The Neo classical Literature 

Topic: Anti Sentimental Comedy 

Sem: III, part II

Year: 2012-2013 

 Submitted to,

 Dr.Dilip Barad, 

 M.k.Bhavnagar University,

 Bhavnagar.

Sentimental comedy:-

          It is a kind of comedy that achieves some popularity with respectable middle class audience in the 18^th century. In contrast with the aristocratic cynicism of English restoration comedy, it’s plots usually involving unbelievably good middle class couples, emphasized pathos rather than humor. Pioneered by Richard Steel in the Funeral. And this pious moralizing of the tradition, which survived into melodrama, was opposed in the 1770s by Sheridan and Goldsmith who attempted a partial return to the comedy of manners.

                                                            (Dictionary of Literary terms)

            Sentimental comedy is related to our emotions. It appeals especially to our fallings of sorrow, pity, and compassionate sympathy. Sentimental comedies reflected contemporary philosophical conceptions of human as inherent good but capable of being led astray through bad example. By an appeal to his noble to his sentiments, a man could be reform and set back on the path of virtue. Although the plays contained characters whose natures seemed overly virtues, and whose trails were too easily resolved, they were nonetheless accepted by audiences as truthful representation of the human predicament. Sentimental comedy had its roots in early 18^th century tragedy, which had a vein of morality similar to that of sentimental comedy but had loftier character and subject matter than sentimental comedy. The best known sentimental comedy is Richard Steel’s The conscious Lovers, which deals with the trials and tribulations of its penniless heroine. In contrast Anti sentimental comedy returns to comedy of manners.

 Comedy of Manners:-

               It is kind of comedy representing complex and sophisticated code of behavior current in fashionable circles of society, where appearance count for more than true moral character. Its plot usually revolves around intrigues of lust and greed, the self interested cynicism of the characters being masked by decorous pretense  Oliver Goldsmith’s “SHE STOOPS TO CONQUER” and Richard Brinsley Sheridan’s “THE RIVALS”& “SCHOOL FOR SCANDAL “are from the Anti sentimental comedy.

Oliver Goldsmith’s “The Vicar of Wake field  “The Deserted Village” are respectively in the front rank of 18^th century novels, poems and plays.

She Stoops to Conquer

  Mr. and Mrs. Hardcastle live in an old house that resembles an inn, and they are waiting for the arrival of Marlow’s son of Mr. Hardcastle's old friend and a possible suitor to his daughter Kate. Kate is very close to her father, so much so that she dresses plainly in the evenings (to suit his conservative tastes) and fancifully in the mornings for her friends. Meanwhile, Mrs. Hardcastle’s niece Constance is in the old woman's care, and has her small inheritance (consisting of some valuable jewels) held until she is married, hopefully to Mrs. Hardcastle's spoiled son from an earlier marriage, Tony Lumpkin The problem is that neither Tony nor Constance loves the other, and in fact Constance has a beloved, who will be traveling to the house that night with Marlow. When Marlow and Hastings arrive, they are impertinent and rude with Hardcastle, whom they think is a landlord and not a host. Then Hardcastle and Kate each confused with the side of Marlow they saw. Where Hardcastle is shocked at his impertinence, Kate is disappointed to have seen only modesty. At the end the truth coming to light, and everyone happy. Sir Charles has arrived, and he and Hastings laugh together over the confusion young Marlow was in. Marlow arrives to apologize, and in the discussion over Kate, claims he barely talked to Kate. Hardcastle accuses him of lying, since Hardcastle saw him embrace Kate and Marlow reveals his truly good character, and after some discussion, everyone agrees to the match. All are happy and the "mistakes of a night" have been corrected.

The Rivals

            By Sheridan

            The play is set in Bath, Somerset England in the mid century and revolved around two reach young lovers, Lydia and Jack, who reads a lot of popular novels of the time, wants a purely romantic love affair. Lydia is enthralled with the idea of eloping with poor soldier in spite of her guardian. Mrs. Malaprop is the chief comic figure of the play. In the end of the play Jack is presented to Lydia by mrs. Malaprop as son to sir Antony and heir to his wealth, where he secretly assures Lydia that he is only masquerading as sir Antony’s son so that he may marry her after that he meet up with Lucius and gets in a quarrel with him and they agree to meet Beverly.

          At the end, all secrets are found out at the duel because Mrs.Malaprop rushes to the duel in fear for their lovers lives trying to stop it before it starts. Lucius discovers that Mrs.Malaprop has been disguises herself as Delia and both infuriated and embarrassed and leaves. Lydia admits her love for Jack and Julia makes up with her lover Falkland. In the end acres invites everyone to a party and they all go to celebrate. 

                       

                       

Major themes in "The Paradise Lost"

Name: Darshangi Andharia

Paper no: 01: The Renaissance Literature 

Topic:Major themes in "Paradise Lost"

SEM: III, part:-I

Year: 2012-2013 

Submitted to,

Dr.Dilip Barad, 

 M.K.Bhavnagar University,

Bhavnagar.

        Milton’s subject in Paradise Lost was the failure of human kind to live according to divine order and its slow providential deliverance from the consequences of the fall. The myth with which he chose to deal, and in which he believed literally, was, like many other parallel myths and folktales, and exploration of the moral consequences of disobedience. The discovery of the knowledge of good and evil is neither accidental nor happy. The central character Adam has no heroic destiny. Though his end Eve’s corruption all humankind is corrupted. And as both are finally oblige to understand, the spiritual struggle to regain paradise equity and equability extends through each generation their descendants. In a profound sense Adam and Eve fall from the ideal into the human condition. The great theme of the poem is obedience to the detests implicit in a creative order of an omnipotent God. The will of God is imprinted in the harmony of nature, and disaster of the fall is as ecological as it is moral. Despite the temptation presented by the poem itself to see the rebellion of Satan as a heroic gesture of liberation. And the fall of Adam as a species of gallantry towards his wife, Paradise Lost insistently attempts to assert to a reader, the ultimate justness of a loving God’s ‘Eternal Providence.’

                In Milton’s Paradise Lost God is powerful they live in heaven; he creates man from his own image. They were in Eden Garden and Satan live in hell. They revolt against the God, he challenges the authority of God so the sent on the hell. Adam is lesser than angels; Eve is created as Adam’s partner. They were sent on the paradise in Eden Garden and said that please don’t go near to this tree of knowledge. And prohibited to eat the fruit of knowledge. But they committed the sin to eat that prohibited fruit. It is in conman human nature, that if some one said that it is prohibited thing than we attract to do that thing. Eve was tempted by Satan because Satan wants to take revenge with God and he knows very well that if he wants to take revenge with God he have to harm his creation. Because directly, he is not able to harm him. Because of Satan’s temptation Eve ate that apple and for love of Eve Adam ate that apple willingly and in conscious manner. Knowledge makes man more unnatural, when both eat that apple they comes know about the good and evil, sexuality and other things. In Paradise Lost, Milton has used many themes to write further about the epic. But main theme of Paradise Lost is Disobedience Adam and Eve. The purpose of Paradise Lost is religious and has three parts (1) Disobedience (2) Eternal providence (3) Justification of God to men.

(01)Disobedience:-

          The first part of Milton’s arguments hinges on the disobedience and its opposite obedience. The universe that Milton imagined with heaven at the top hell at the bottom and earth in between is a hierarchical place. God literally sits on the thrown at the top of Heaven Angels are arranged in groups according to their proximity to God. On the Earth Adam is superior to Eve humans rule over animals. Even in the Hell, Satan sits on a thrown, higher than demons. The proper way of the world was for inferiors to obey superiors because superiors well superior. A king was not because he was chosen but he was superior to his subject. It was therefore, not just proper to obey the kind was merely required. Satan’s rebellion because of jealousy is the first great act of disobedience and commences all that happens in the epic.

          The crucial moment in the poem results from the disobedience and a breakdown of hierarchy. Eve argues with Adam about whether they should work together or apart. The problem here lies with both humans. Eve should not argue with her superior, Adam, but like arise, Adam should not yield his authority to his inferior, Eve. Likewise, when Adam also eats the fruit, he disobeys the God. Further, he disobeys by knowingly putting Eve ahead of God. Disobedience and disruption of the correct order result in sin and death.

(02)Justification of ways of God to Man:-  

           Eternal providence moves the story to a difference level. Without the fall, this divine love would never have been demonstrated. Because Adam and Eve disobeyed God. By obeying God, can achieve salvation. The fall actually produces a new and higher love from God to Man.

Eve’s revolt :-

           There is an argument between Adam and Eve for Division of work. Adam insists that Eve should be closed to him and they have work together. Eve wants to work independently without Adams supervision. She wants to ;live independent life. “If so near.....good works in her husband to promote”

          She furthers her argument saying that their presents are barrier to their work assign by God. Adam tries to pursuit Eve not to part from him because they have threat to their live from the enemy. But Eve is not convinced by the argument and ultimately decides to part from Adam.

Stan’s Revolt:-

           His revolt for God because of his disobeying him. He speaks against God so he was punished and thrown into the Hell. He knows that he is not capable to take revenge with God so he harms the creation of God. Satan takes the advantage of Eve and Adam’s separation. He seduces Eve in the form of serpent. Satan enters in Eden garden unobserved during midnight to take revenge against God. Satan’s motto is to destroy the creation of God.                      

             

Gender Discrimination in Mahesh Dattani’s “Tara”

                                         Name: Darshangi Andharia

                    Paper: E-c-202: Indian Writing in English

       Topic: Gender Discrimination in Mahesh Dattani’s “Tara”

                                       SEM: 2, part 1

                                    Year: 2011-2012



                                       Submitted to,

                                     Dr.Dilip Barad,
                                  Bhavnagar University,

                                        Bhavnagar.



Gender Discrimination in Mahesh Dattani’s “Tara”

Mahesh Dattani is an Indian director, actor and writer. He wrote the plays like Final solution, On a Muggy Night in Mumbai, Tara and 30 days in September. He is the first playwright in English to be awarded the Sahitya Academy Award. “Tara” was first published in 1990. This plays is talks about the family tragedy in which the members of the family are suffering. It shows gender difference in Indian society. 

Chandan is thinking in London about his past life and he wants to write a play. He had already given the title to the play that is “Twinkle Tara”. They were Siamese child and after the operation they are physically separated but mentally they are joined. There is a difference between sex and gender, it is related to biological term and gender is given by society. Throughout the play Dattani has used this difference of male and female. Even in our primary’s lesson we had one lesson that “Ram khir kha” and “Sita kam kar.” It shows in the play when Tara talks to Roopa about her father and son, she says that 

“The men in the house were deciding on whether they were going to hunting while the woman looked after the caves.”

Women have not their own identity in the society. If she is more capable than the man though she will not permitted by her family to go for work. For example Mr. Patel says to Chandan, 

“I was just thinking …… It may be a good idea for you to come to the office with me.”

Why Mr. Patel tells only Chandan to join the office. Why not Tara? Because she is girl? Even Chandan says that if Tara will come then and then I will come. She is more capable than me for office work but Mr. Patel don’t allow Tara to come at office. 

The play is about issues of class and modern life style and values. Patel and Bharati are educated parents but they crested discrimination in the play. Even Bharati’s father, a resourceful person, is also considered to be one of the factors in this misfortune. She offers her kidney to give a new charge of life to Tara. She knows the reality that after giving the kidney she will not survive but she wants to sacrifice because of her mistake, now she realize the truth and that is why Patel is not agree to donate her kidney. Mr. Patel knows the reality of his wife.

Dr. Thakkar occupies the one on the highest level throughout the play. Tara and Chandan are conjoined, Siamese twins who must be separate to survive. The dichotomy between the twin ‘gendered’ selves is recognized and a physical separation is made through surgery. He is aware that the third leg would stick on better to the female half, yet becomes party to the decision. Tara never got a fair deal, not from nature and not from human being.

Bharati address Tara as “My lovely, beautiful girl and my twinkle Tara.” Bharati is pathetic victim of patriarchy. She was exceptionally conscious for her own sake.

 Tara was more enthusiastic and full of jest and spark of life. She had high aspirations which she could not achieve because of her handicapped state while the boy had given the second leg. Why not Tara? Because she is girl? Is being girl in the society a curse? Even this biased thing was done by the woman. Why woman can’t understand the problem of other girl? Always woman have to sacrifice for the man in the society. 

 The social system in which the girl child has to live and to die. Tara is killed by social system, which controls the minds and actions of the people. At the end of the play, we see Chandan apologizing to Tara in the most moving of all the lines 

“Forgive me, Tara

Forgive me for making it

My tragedy.”

Cultural Studies

                                                  Name: Darshangi Andharia
                            Paper: E-E-205-B: Cultural Studies
                                     Topic: Cultural Studies
                                            SEM: 2, part 1.
                                          Year: 2011-2012


                                               Submitted to,
                                            Dr.Dilip Barad, 

                                     Bhavnagar University, 

                                              Bhavnagar.



Cultural Studies


A field of academic study that finds its origins in the Birmingham Centre for Contemporary Cultural Studies and the work of critics like Raymond Williams, Richard Hoggart and later by Stuart Hall, Tony Bennett and others, cultural Studies is a discipline between disciplines.


What “Cultural” has meant before and now


A word Culture was derived from “Cultura” and “Colere” it means “To Cultivate”. By nineteenth century in Europe it means the habits, customs and tastes of upper classes but now it is the mode of generating meanings and ideas. Through meanings we can understand the things or it gives us idea to understand the society. It gives importance to the popular culture also. Cultural Studies argues that culture is about the meanings community/society generates. It’s not a natural thing it is produced. Culture is interested in the production consumption of culture. It is like class, economy and representation. These three will be with the culture. Who have money they can afford it and it will be the good culture. But those who have no money they will consider as low cultural people or not cultured people. It has five types and four goals. They are,


(1)Cultural Studies transcendent the confines of the particular discipline such a literary criticism or History.


It involves scrutinizing the cultural phenomenon of the text. Cultural studies is not necessarily about ‘Art’ It emphasize that the intellectual promise of cultural studies lies in its attempts to “cut across diverse social and political interests and address many of the struggle within the current scene.” Intellectual works are not limited by there own “Borders” as single texts, historical problems, or disciplines and the critics own personal connections to what is being analyzed may also be described. Henry and others write in their Dalhousie review manifest to that cultural study practitioners are “resisting intellectuals” who see that they do as “As emancipator project” because it erodes the traditional disciplinary divisions in most intuitions of higher education. For students, this sometimes means that a professor might make his or her own political views part of the instruction, which, of course, can lead to problems.


(02)A cultural study is politically engaged:-


Cultural critics se themselves as “oppositional”, not only within their own disciplines but to many of the power structures and society at large, they question inequality within power structures and seek to discover models for restructuring relationship among dominant and “Minority” or “Subaltern” discourage. Because meaning and individual subjectivity are culturally constructed, they can thus be reconstructed.


(03)It denies the separation of “High” and “Low” or Elite and popular culture:-


Some where at an art museum, you might here someone remark that, “I came here to get a little culture.” Being a cultural used to mean being acquainted with “Highbrow” art and intellectual pursuits. But isn’t culture also to be found with a pair of tickets and tickets to a rock concert? But now the team culture include mass culture, whether popular, Falk, or urban. Transgressing of boundaries among disciplines high and low can make cultural studies just pain fun. You can’t neglect the popular culture. Most of time Classic culture will be among 50-60 people. But popular is full of masses, because, it shows our regular day life.


(04)It analyzes not only the cultural work, but also the means of production.


Marxist critics have long recognized the importance of such Paraliterary questions as these: who supports a gives artist? Who published his or her books, and how are these books distributed? Who buys books? For that matter, who is literate and who is not?


All these questions are come out from it. These studies help us recognized that literature does not accurse in a space separate from other concerns of our lives.

Culture and Anarchy

                                       Name: Darshangi Andharia 

            Paper: E-c-204: The Victorian Literature 

                            Topic:  Culture and Anarchy 

                                      SEM: 2, part 1                                              

                                           Year: 2011-2012

                                   Submitted to,
                                 Dr.Dilip Barad,
                            Bhavnagar University, 

                                   Bhavnagar.





Culture and Anarchy

By Matthew Arnold


Culture and Anarchy was published in 1869. It is in response to specific Victorian issues; commentators have since examined the work for its relevance to universal ethical question and social issues in subsequent generations. This essay argues for a restructuring of England social ideology. It reflects Arnold’s passionate conviction that, the uneducated English masses could be molded or converted into conscientious individuals who strives for human perfection through the harmonious cultivation of all of their skills and talents. Arnold is in favor of high culture he doesn’t give any importance to popular culture. it is divided into many chapters.


(01)Arnold and three classes: - the Barbarians, the Philistine and the Populace.


He has divided the society of England into three classes and analyzes them with their virtue and defects. His scrutiny of three classes of his time proves him good critic.


The Barbarians: - For aristocratic class he used this word and he views that this class lacks adequate courage for resistance. They have personal individualism, liberty and doing as one likes. They had great passion for field sports. Their external styles in manners, accomplishments and powers are inherited from the Barbarians.


The Philistine: - The middle class, known by their wisdom, expert of industry and found busy in industrialization and commerce. Their eternal inclination is to the progress and prosperity of the country by building cities, railroads and running the great wheels of industry. They have produced the greatest mercantile navy. So, they are Empire builders. In this material progress, the working class is with them.


The Populace: - This class is known raw and half developed because of poverty and other related diseases. This class is mostly exploited by the barbarian and philistine. The author finds democratic arousing in this class because they are getting political consciousness and are coming out from their hiding places to assert an English man’s heaven-born privilege of doing as one likes, meeting where he likes, breaking what he likes.


(02)Arnold’s concept of Hebraism and Hellenism: -


In this he takes about concept of doing and thinking. His general view about human beings is that they prefer to act rather than to think. He rejects it because mankind is to err and he can’t always think right. He takes about the great idea to know and the great energy to act. Both are the most potent forces and they should be in harmony by the light of reason. So, they are Hebraism and Hellenism. The final aim of Hebraism and Hellenism is the same as man’s perfection and salvation. He further discuss that the supreme idea with Hellenism or Greek spirit is to see things as the really are and the supreme idea of Hebraism or the spirit of bible is conduct and obedience. Hebraism studies the universal order and observes the magnificence of God apparent in the order, whereas Hellenism acquires spontaneity of consciousness with a strictness of conscience with its clarity of though. In brief, Hebraism shows stress on doing rather than knowing and follows the will of God. Its primary idea is absolute obedience to the will of God.


Hellenism and Hebraism both are directly connected to the life of human beings. Hellenism keeps emphasis on knowing or knowledge, where as Hebraism fastens its faith in doing. In conclusion, it must be added that the rule of life should be based on the theory of Hellenism and Hebraism because the final aim of both is man’s perfection or salvation.

Tradition and Individual Talent

                                           Name: Darshangi Andharia
                            Paper: E-c-203: Literary Criticism
                   Topic: Tradition and Individual Talent By T.S. Eliot
                                         SEM: 2, part 1. 

                                        Year: 2011-2012

                                          Submitted to,
                                        Dr.Dilip Barad,
                                   Bhavnagar University,
                                           Bhavnagar.




                           Tradition and Individual Talent By T.S. Eliot  
was extraordinarily influential in the middle of the last century. His essay “Tradition and Individual Talent” was published in 1919 in the Egoist-times literary supplement. Later, the essay was published in the Sacred Wood: Essay on poetry and criticism in 1920 or 1922. This essay is described by David Lodge as the most celebrated critical essay in the English of the 20th century. The essay is divided into three main sections. They are 


(1) Concept of tradition


(2)Theory of Depersonalization and poetry


(3)Poet’s sense of tradition and the impersonality of poetry are complementary things.






Part:-I Concept of Tradition


Eliot’s critical writing offers intellectual insight into the work of literature or art. He says that poem requires a mental exercise should be happen in the minds of the readers. The word ‘Tradition’ and ‘Individual Talent’ gives some clues to us about his work and what is it about. He explain the concept of tradition what we had adopted it in normal course or in easier way. It is somewhere connected to the reconstruction because if the reader will read the text of the poems then he/she will interpret-it in their way of understanding the thing. He says that the meaning is within the text not out of the text. So it is related to reconstruction. Some one said, “The dead writers are remote from us because we know how much more than they did.” Precisely, and they are that which we know. Eliot is the favor of which we know, however unconsciously. Someone in the starting point of the essay he writes that ‘Criticism is as inevitable as breathing’, but almost in the some breath that ‘We should be none the worse……for criticizing our own minds in their work of criticism.’ Eliot believes in objective capability through it he has present with his own self or with his feelings and emotions.


For him tradition has three fold significance. Tradition cannot be inherited and involves a great deal of labor means someone must obtain it by hard work. It involves appreciation not only of the past but also of its presence. And the historical sense enables to write not only with his own generation in mind, but with feelings that down to the literature of his own country forma a continuous literary tradition.


All the same time the poet must be conscious of his place in his contemporary time. He says that the Englishmen have a tendency to insist, when they praise to poet, in these aspects of his work they try to find out what is individual. They try to find out the difference of the poet with his contemporaries and predecessors, especially with his immediate predecessors. They try to find out something that can be separated in order to be enjoyed.


It means, poet couldn’t be appreciated in isolation but he should be seen in relation to the dead poet. Contrast comparison among the dead makes the present poet traditional. Because present poet has used the references from the past poet’s or writers work of art. For example in the poem “The Waste Land” he himself has used the Indian myths as his reference with the poem. Even Plato, the pioneer of the criticism has said that, “Poem is thrice removed from the reality.”


Eliot says that the improvement in the conscious present is an awareness of the past. He also says that the poet can absorb essential knowledge required to create a work of art. The progress of an artist is a continual self sacrifice a continual extinction of personality. This shows he gives importance to the interdependence of past and the present. He finds not contradictory but supplementary elements in the co-relationship of the pat and the present.


He also adds that the relationship of a poet’s work to the great works of the past. He says that present work of art should not be judge by the standards of the past. We cannot say that this on is good or bad. To be traditional in Eliot’s sense means to be conscious of the main current of art and poetry.






Part:-II The Theory of Depersonalization


In this he defines the process of depersonalization and its relation to the tradition. He start with “Honest criticism and sensitive appreciation is directed not upon the poet but upon the poetry.” Process is “A continual surrender of himself as he is at the moment to something which is more valuable. He gives the example of two gases oxygen and Sulphur dioxide. Trough this example he wants to say that if poet wants to write a poem then he doesn’t have any history or background or any feeling then the writing process will be stopped. So the mind of the poet or knowledge of is the shred of platinum.”


There are two elements which are experience of poet-feelings and emotions. It shows the relation between the poem and poet. He further says that “the poet has not a ‘Personality’ to express, but particular medium, which is only a medium and not a personality, in which impressions and experiences combine in peculiar and unexpected ways. Impressions and those which become important for the poetry may play quite a negligible part in the man, the personality.”


The business of the poet is not to find new emotions, but to use the ordinary once and, in working them up into poetry, to express feeling which are not in actual emotions at all. And emotions which he has never experienced will serve his turn as well as those familiar to him. We must believe that “Emotion recollected in tranquility” is an in exalt formula. These experiences are not “Recollected” and they finally unite in an atmosphere which is tranquil what is important in it is a kind of concentration by the poet.


He says that bad poet is usually unconscious where he ought to be conscious where he ought to be unconscious. Both


Errors tend to make him personal.

I Sense of tradition and the impersonality of poetry are complementary things.

third and last part he says that the poets of tradition and the impersonality of poetry are complementary things. He writes: “To divert interest from the poet to the poetry is laudable aim: for it would conduce to a juster estimation of actual poetry, good and bad.” He ends his part with the words that expression of significant emotion, emotion which has its life in the poem and not in the history of the poet. And emotion of the art is impersonal. Poet cannot reach this impersonality without surrendering himself wholly to the work to be done unless he lives in the present moment of the past, unless he is conscious, not of what is dead, but of what is already living.


In the conclusion we can say that “Poetry is not a turning loose of emotion, but an escape from emotion; it is not the expression of personality but an escape from personality.” In this essay reader response and reception theory have elaborate or we can apply it with this approach.


So, as per T.S.Eliot’s view point poetry is not a turning loose of emotion, but an escape from emotion; it is not the expression of personality, but an escape from personality. But, of course, only those who have, personality and emotions know what it means to want to escape from these things.

Themes, Motifs and Symbols in ‘Wuthering Heights

                                                 Name: Darshangi Andharia
                      Paper: E-C-201: The Romantic Literature
            Topic: 'Themes, Motifs and Symbols in ‘Wuthering Heights’
                                           SEM: 2, part 1.
                                         Year: 2011-2012

                                              Submitted to,
                                            Dr.Dilip Barad,

                                        Bhavnagar University,

                                               Bhavnagar.

Themes, motifs and Symbols in Wuthering Heights

Wuthering Heights is a novel by Bronte which was published in 1947. It starts with the dream. Nelly tells the story to Lockwood and through Lockwood’s point of view we are traveling in the novel. There are two families, first is Earnshaw family and second one is Linton family. And location of the novel is like
Moorland is between the Wuthering Heights and Thrush cross Grange. Structure of the novel depends on the Karl Marx’s reference of Master and Slave. In the beginning Earnshaw is Master and Heathcliff is slave but in the end Heathcliff is master/owner and others are under his rule. At the end of the novel each characters dies and only Haretone and Cathy are lives. There are themes of destructiveness of love, classicism, struggle for power, industrialization in the novel.




Theme: - Through major themes we can easily understand what writer wants to tell throughout the novel.




(01) The destructiveness of a Love:-




In the novel there are two loves story first is Catherine and Heathcliff, second is Hareton and Cathy. The whole novel is surrounded by the first generation and second generation’s feelings, love, separation and revenge between two because of love. Catherine and Heathcliff’s love story is rooted in their childhood and it is converting into refuse. As a young lady she wants material comfort, fame in the society, live very peacefully without any problem of class or any social class system. She loves Heathcliff a lot but she marries with Edgar Linton, Who is born and raised as a gentleman. He is graceful, ell mannered, and instilled with civilized value. These qualities attract her towards Edgar. Even she doesn’t love him but for status she marries him. At the end Heathcliff comes with new look because he had heard the conversation between Catherine and Nelly, “I loves Heathcliff but cannot marry him” This is the climax of the novel and the point of revenge in Heathcliff’s mind. Through the novel the love is only thing which makes him very brutal. He takes his revenge with Catherine so he marries with Edger’s sister Isabella as a medium. And after that both dies, second generation remains, Isabella’s son and Catherine’s daughter. Heathcliff force Cathy to marry Linton Heathcliff, Who is very weak in the novel and he dies after his marriage.




(02)The precariousness of social class:-




In the novel there is two/three part. First Earnshaw family who are upper middle class people, Linton family who are aristocratic family and third is Heathcliff who is brought up in a good atmosphere but he is orphan and moor. The big element is the refusal of Catherine to Heathcliff because he is not that much wealthy person than Edgar, Earnshaw and Linton occupies a somewhat precarious place within the hierarchy of the century. In The top society the royalty was followed by the aristocracy, then by the gently, and the lower classes. She marries Edgar because she will be, “The greatest woman of the neighborhood.” The characters are prejudged by their race/class/education. When Heathcliff is first introduced he is described as a skinned and dark hair. He also called as “Gypsy”. And Cathy laughs at Hareton because of his lack of education. Even because of Hareton’s skin Heathcliff hates his own son Hareton.




(03)Revenge:-




Revenge is major theme of the novel. Heathcliff’s revenge affects everyone in the novel. In the first part he described as plotting revenge against Hindley and his descendants for his mistreatment of him and against Edgar and his descendants for Catherine’s death.




(04) Supernatural element:-




Supernatural element happens in the beginning and continues until the very end. In third chapter Lockwood grabbed and pleaded to by Catherine’s ghost through a window. And in the last chapter Ellen takes about people seeing ghosts of Heathcliff and Catherine walking on the moors.




Motifs: - Motifs are recurring structure and literary devices that helps to develop and inform the text’s major themes.




(01) Doubles:-


Bronte’s elements of the novel are into pairs. Two narrators are there, Nelly and Lockwood. Catherine’s character is divided into two warring sides: First side that wants Heathcliff and second is wants Edger. Catherine and young Cathy are both remarkably similar and strikingly deferent. Two houses Wuthering Hiegh6ts and Thrush cross grange. Two families are quite opposite and complicated, Mr. Earnshaw and Mr. Linton Family. In Contrast Linton family is Aristocratic family and Earnshaw family is upper middle class family. Heathcliff have two faces he is orphan but grow up in good family or well manner.




(02)Repetition:-




Repetition is another technique which is used by Bronte in the novel. It seems nothing ever ends in the world of this novel. The way that the names of the characters are recycled. So, names of the characters of the younger generation seem only to be rescrubbing of the names of their parents. Catherine’s daughter name is young Catherine.




(03)The conflict between Nature and Culture:-




Two families represent Nature and Culture. Mr. Earnshaw family, Specially Heathcliff & Catherine represent particularly. These characters are governed by their passions, not by the house where they live-Wuthering Heights symbolized a similar wilderness. On the other hand, Thrush cross Grange and the Linton family represent culture, refinement, conviction, and cultivation.




Symbols: - Symbols are objects, characters, figures and colors used to represent idea or concept.




(01)Moors:-




The constant emphasis on landscape within the text of Wuthering Heights and it is very useful for the plot construction. This landscape comprised primarily of moors: Wide, Wild expanses, high but somewhat soggy, and thus different and infertile, Moorland can’t be cultivated, and its uniformity makes navigation difficult. It is associated with love affair.




(02)Ghosts:-




A ghost appears throughout the novel as they do in most other works of Gothic fiction. Catherine’s ghost appears to Lockwood as nightmare. The villagers shows Heathcliff’s ghost could be dismissed as superstition.