Saturday, 12 October 2019
Background The Fakeer of Jungheera
[ ] Name : Sanjay A. Dharaiya
[ ] Course : M.A.
[ ] Sem : 1
[ ] Year : 2019-2020
[ ] Roll : 33
[ ] Enrollment : 2069108420200009
[ ] Email id : dharaiy9@gmail.com
[ ] Paper 4 : Indian Writing in English
Background to The Fakeer of Jungheera, 1828
[ ] Introduction :
During his meteoric but short-lived career, Derozio wrote on all kinds of themes-from aesthetics, education and social emancipation to love, patriotism and rationalism. Today, though some of his writings are irretrievably lost or inaccessible, Calcutta publishers have endeavored to bring out collections of his works that shed light on his literary and academic career. Most of us remember Derozio for his long metrical poem in two cantos called The Fakeer of Jungheera published by Samuel Smith and Company, Hurkaru Library Calcutta in 1828 It is rather difficult to say which influences went into the making of the personality of the fakeer. Edwards suggests that Derozio's early association with Bhagalpur, where his uncle as a small boy, Derozio lived, shaped his image of the fakeer. On one of his visits to the city saw a fakeer "on a rock in the middle of the river" and this became "the first suggestion to his fertile imagination of the longest and most sustained tlight of his muse, In the character of glimpse of the diffcrent stages of life and its the fakeer and his beloved, Derozio gives us a emotions Though the poem abounds i: romantic fantasizing of discrete religious categories, there seems to be an unbounded enthusiasm in creating a syncretistic tradition that includes the narginalized and outcast groups of lndian society. Since it was somewhat difficult for voung Derozio to understand the complexities and underpinnings of the Hindu and Islamic traditions, he approached them from a predominantly Christian and European enlightenment perspectives. In trying to find a unifying identity within the disparate religious categories of the Indian sub- continent, he discovered the eartly fecundiy of India. The rich fruitfuleess of the land repre sented in his writings later took the s'pe of matryabhuni or motherland, a category. which stood in opposition to the exclusionary politics of the British empire.
By creating a concrete image of mother India and imbuing her with Christian and enlight- original identity to the Indian freedom enment ideas of love and freedom, Derozio gave an moveinent and created an iconography that was successfully exploitéd by Bollywood in the movie Mother India (1957 ). Later writers like Bankim Chandra Chattopadhyay (1838-1894) and other Bengali writers exploited and developed the concept of mother India as a symbol and rallying point to give immediacy and power to the nationalist movement. unifying The debt nineteenth century Indian writers owe to Heny Derozio has been elided in the last century primarily due to the upper caste Hindu politics of literary histoians and the narrow tion of Derozio as a writer with a Portuguese-British background.
[ ] The Tantric Cosmology
The Tantric cosmology embodied in the tale of King Vikramaditya and the Beital, the vam- pire story in Baital Pachisi, offers hope and respite to people power of love, provided they possess the virtues of courage and perseverance when encounter- ing fear and temptation. In the "Notes" to The Fakeer of Jungheera Derozio explains how he got the idea of introducing this tale in the main narrative of the poem; he writes: even after death by invoking the A student of that excellent institution, the Hindu College, once brought me a translation of the Betal Puncheesa, and the following fragment of a tale having struck me for its wildness, I thought of writing a ballad , the subjcct of which should be strictly Indian. The Shushan is a palce where the dead are conveyed to be burnt In conformity with the praence of easten story tellers, who frequently repeat the burden of moral of the song. have i introduccd the o love is strong".wherever an opportunity offered.
As the story goes, if King Vikram remains steadfast in his love for his queen he can resur- cet he: and o;c Piore beth car trd happines together. The dauntless fortide and courace thai the King exempliñes by passing through the horrible ordeals in the graveyard leading to his tory, provides a fitting conclusion to the tragic death of the fakeer in the arms of his beloved Nuleeni. If the tale of the baital is true, then "the burnt out eloquence" of Nuleeni can again be resurrected in the arms of the fakeer if she can pass through the horrors and temptations of life However these are unstated assumptions, a part of the general ambience of the story that forces the reader to reflect upon the last scene where the fakeer lies dead in the amms of Nuleeni on the bloodied battlefield or the graveyard of death. The omniscient narrator broods over the tragic impasse, which may soon be us of all emotions, merely reflecting on an scene divesting resolved through a deus ex machina. The open-ended montage makes the reader reflect on the calm engendered by a catharsis.
[ ] The Emotional and Social Landscape of the Poem
Derozio works around the story, not from within. The entire story races through imagined anxieties of the love relationship and the dreams of a happy future in iambic four-foot couplets. expressions of a strong emotional bonding, as if the writer fears that their expression might result in their loss. However, the anxicty in the poem is palpable from the beginning to the end, reflecting the social ethos of mistrust and animosity of There is no sensuous fulfillment of love, no nineteenth century Bengal. Derozio's delicate position ment caused by the criticism heaped by the elders of Hindu College of his avant garde ways, cast their shadows over the poem. This quivering hesitation not to reveal enough, this pulling as an outsider and outcast and the resent- back, creates not only an indubitable mystery, but also an understatement necessary for high art. Early in the nineteenth century Edwards wrote,
"Derozio has felt and expressed, not only the close affinity of the varying moods and the life of man with the changeful phases of nature, but also the sympathy that links together all created things, and that throws the beams of a warm human love around on all Nature."
From another perspective the unmitigated anxiety and pain broods like a dark cloud over the poem invading the characters true feelings, and making the imagery and setting opaque. The poem is more a part of the spoken tradition and had the poet thought of it as a written artifact he would have deleted some of the belabored sections and reduced the poem to half of its present length.
[ ] Attitudes Towards Colonialism and the Nation
Derozio was deeply exorcised by British colonization and felt that it was responsible for many ills India was facing including the throttling of the creative spirit. Two years before the publication of the poem, "My Country," he wrote an essay in The India Gazette called "Beginnings-Literature in India-Promises" where he inquired about the reason why literature does not "flourish" in India.. He gave many reasons responsible for this problem such as "uncon- genial" soil and climate, paucity of talent, lack of literary publications and colonization itself. At this time he still felt that colonial rule was meant to "benefit India beyond all cultivation" but was worried about its "practicability." Empire By 1929 Derozio began to be convinced that the British "empire of opinion" but an "empire of military force." He felt that the was not an moment military force was withdrawn the hitherto supportive natives would subvert the empire and dismantle its edifice. Like most Bengalis later in the century, Derozio used European enlightenment arguments Lo critique the British colonial system. In an essay, "On the Colonization of India by Europeans" he stated,
Upon the whole, then, we must draw the inference, that colonization would not be benefi- cial, unless the British Legislature interferes, and materially alters the present system of Indian policy, by admitting natives and Indo-Britons to a participation of privileges, on a similar footing, as far as practicable and expedient with the Europeans. It is only by such a Measure that discontent can be prevented from brooding into rebellion. and the arts and scenes when established. can produce benefits both to the governors and governed too Britan and to this at preseant, our oppressed neglected native country The basis of good government is as Jeremy Benteams observes. the greatest good of the greatest number and i heartly hope this principle the wisdom of the legislature will see fit or any year clapse to adopt on every measme connected with India.
The fact is, that so far from any display of enthusiastic affection, a Suttee is a spectacle of misery, exciting in the spectator a melancholy reflection upon the tyranny of superstition and priest craft. The poor creatures who suffer from this inhuman rite, have but little notion of the heaven and the million years of uninterrupted happiness to which their spiritual guides tell them to look forward. The choice of immediate death, or a protracted existence, where to be only must contend their desire, is all that is offered to them; and who under such circumstances would hesitate about the preference? The most degrading and humiliating household offices must be performed by a Hindu Widow; shc is not allowed more food than will suffice to keep her alive; she must sleep upon the bare earth; and suffer indignities from the youngest members of her family; these are lanthropic views of some individuals are directed to the abolition of widow-burning; but only a few of her sufferings. The phi- they should first ensure the comfort of these unhappy women in their widowhood-other wise, instead of conferring a boon upon them, existence will be to many a drudge, and a load."
Derozio approvingly quotes a writer from the Indian Magazine and endorses the latter's opinion that sati constitutes the most barbaric and degrading aspect of Indian society which can be overcome through education and intellectual development. Nonetheless with all his self- assurance and animosity for con-cremation, Derozio seems somewhat bewildered by cases of willful self-immolation. During the nineteenth century many upper caste Hindu women willful- ly committed sati mistakenly believing in the veracity of the-Hindu ritual, as if mesmerized into an abominable act through a long process of socialization.
[ ] To Sum up....
The issue of sati was not just a social phenomenon. Natural causes and hygienic practice also aggravated the malaise. It must however be remembered that the increase in the number of sati was also related to a large extent to the spread of cholera epidemics in the nineteenth century that originated along the banks of the Ganges River and spread to other parts of the world reaching through the Middle East and Europe up to the United States. The unhygienic conditions Calcutta vce quilc conducive to the spread of the disease. Tlie ludialn habit of delecating by the banks of the Ganga River and the warm waters of the river multiplied the cholera virus that entered human body through drinking water drawn for it. Derozio himself met an untimely death through contracting cholera. Though there were many reasons for the increase of incidents of sali in Bengal the. death rate of married Bengali males was a alv significant factor."
[ ] Topic :Background of The Fakeer of Jungheera
[ ] Total word : 1854
[ ] Submitted to : S.B. Gardi Department of English MKB University
[ ] Course : M.A.
[ ] Sem : 1
[ ] Year : 2019-2020
[ ] Roll : 33
[ ] Enrollment : 2069108420200009
[ ] Email id : dharaiy9@gmail.com
[ ] Paper 4 : Indian Writing in English
Background to The Fakeer of Jungheera, 1828
[ ] Introduction :
During his meteoric but short-lived career, Derozio wrote on all kinds of themes-from aesthetics, education and social emancipation to love, patriotism and rationalism. Today, though some of his writings are irretrievably lost or inaccessible, Calcutta publishers have endeavored to bring out collections of his works that shed light on his literary and academic career. Most of us remember Derozio for his long metrical poem in two cantos called The Fakeer of Jungheera published by Samuel Smith and Company, Hurkaru Library Calcutta in 1828 It is rather difficult to say which influences went into the making of the personality of the fakeer. Edwards suggests that Derozio's early association with Bhagalpur, where his uncle as a small boy, Derozio lived, shaped his image of the fakeer. On one of his visits to the city saw a fakeer "on a rock in the middle of the river" and this became "the first suggestion to his fertile imagination of the longest and most sustained tlight of his muse, In the character of glimpse of the diffcrent stages of life and its the fakeer and his beloved, Derozio gives us a emotions Though the poem abounds i: romantic fantasizing of discrete religious categories, there seems to be an unbounded enthusiasm in creating a syncretistic tradition that includes the narginalized and outcast groups of lndian society. Since it was somewhat difficult for voung Derozio to understand the complexities and underpinnings of the Hindu and Islamic traditions, he approached them from a predominantly Christian and European enlightenment perspectives. In trying to find a unifying identity within the disparate religious categories of the Indian sub- continent, he discovered the eartly fecundiy of India. The rich fruitfuleess of the land repre sented in his writings later took the s'pe of matryabhuni or motherland, a category. which stood in opposition to the exclusionary politics of the British empire.
By creating a concrete image of mother India and imbuing her with Christian and enlight- original identity to the Indian freedom enment ideas of love and freedom, Derozio gave an moveinent and created an iconography that was successfully exploitéd by Bollywood in the movie Mother India (1957 ). Later writers like Bankim Chandra Chattopadhyay (1838-1894) and other Bengali writers exploited and developed the concept of mother India as a symbol and rallying point to give immediacy and power to the nationalist movement. unifying The debt nineteenth century Indian writers owe to Heny Derozio has been elided in the last century primarily due to the upper caste Hindu politics of literary histoians and the narrow tion of Derozio as a writer with a Portuguese-British background.
[ ] The Tantric Cosmology
The Tantric cosmology embodied in the tale of King Vikramaditya and the Beital, the vam- pire story in Baital Pachisi, offers hope and respite to people power of love, provided they possess the virtues of courage and perseverance when encounter- ing fear and temptation. In the "Notes" to The Fakeer of Jungheera Derozio explains how he got the idea of introducing this tale in the main narrative of the poem; he writes: even after death by invoking the A student of that excellent institution, the Hindu College, once brought me a translation of the Betal Puncheesa, and the following fragment of a tale having struck me for its wildness, I thought of writing a ballad , the subjcct of which should be strictly Indian. The Shushan is a palce where the dead are conveyed to be burnt In conformity with the praence of easten story tellers, who frequently repeat the burden of moral of the song. have i introduccd the o love is strong".wherever an opportunity offered.
As the story goes, if King Vikram remains steadfast in his love for his queen he can resur- cet he: and o;c Piore beth car trd happines together. The dauntless fortide and courace thai the King exempliñes by passing through the horrible ordeals in the graveyard leading to his tory, provides a fitting conclusion to the tragic death of the fakeer in the arms of his beloved Nuleeni. If the tale of the baital is true, then "the burnt out eloquence" of Nuleeni can again be resurrected in the arms of the fakeer if she can pass through the horrors and temptations of life However these are unstated assumptions, a part of the general ambience of the story that forces the reader to reflect upon the last scene where the fakeer lies dead in the amms of Nuleeni on the bloodied battlefield or the graveyard of death. The omniscient narrator broods over the tragic impasse, which may soon be us of all emotions, merely reflecting on an scene divesting resolved through a deus ex machina. The open-ended montage makes the reader reflect on the calm engendered by a catharsis.
[ ] The Emotional and Social Landscape of the Poem
Derozio works around the story, not from within. The entire story races through imagined anxieties of the love relationship and the dreams of a happy future in iambic four-foot couplets. expressions of a strong emotional bonding, as if the writer fears that their expression might result in their loss. However, the anxicty in the poem is palpable from the beginning to the end, reflecting the social ethos of mistrust and animosity of There is no sensuous fulfillment of love, no nineteenth century Bengal. Derozio's delicate position ment caused by the criticism heaped by the elders of Hindu College of his avant garde ways, cast their shadows over the poem. This quivering hesitation not to reveal enough, this pulling as an outsider and outcast and the resent- back, creates not only an indubitable mystery, but also an understatement necessary for high art. Early in the nineteenth century Edwards wrote,
"Derozio has felt and expressed, not only the close affinity of the varying moods and the life of man with the changeful phases of nature, but also the sympathy that links together all created things, and that throws the beams of a warm human love around on all Nature."
From another perspective the unmitigated anxiety and pain broods like a dark cloud over the poem invading the characters true feelings, and making the imagery and setting opaque. The poem is more a part of the spoken tradition and had the poet thought of it as a written artifact he would have deleted some of the belabored sections and reduced the poem to half of its present length.
[ ] Attitudes Towards Colonialism and the Nation
Derozio was deeply exorcised by British colonization and felt that it was responsible for many ills India was facing including the throttling of the creative spirit. Two years before the publication of the poem, "My Country," he wrote an essay in The India Gazette called "Beginnings-Literature in India-Promises" where he inquired about the reason why literature does not "flourish" in India.. He gave many reasons responsible for this problem such as "uncon- genial" soil and climate, paucity of talent, lack of literary publications and colonization itself. At this time he still felt that colonial rule was meant to "benefit India beyond all cultivation" but was worried about its "practicability." Empire By 1929 Derozio began to be convinced that the British "empire of opinion" but an "empire of military force." He felt that the was not an moment military force was withdrawn the hitherto supportive natives would subvert the empire and dismantle its edifice. Like most Bengalis later in the century, Derozio used European enlightenment arguments Lo critique the British colonial system. In an essay, "On the Colonization of India by Europeans" he stated,
Upon the whole, then, we must draw the inference, that colonization would not be benefi- cial, unless the British Legislature interferes, and materially alters the present system of Indian policy, by admitting natives and Indo-Britons to a participation of privileges, on a similar footing, as far as practicable and expedient with the Europeans. It is only by such a Measure that discontent can be prevented from brooding into rebellion. and the arts and scenes when established. can produce benefits both to the governors and governed too Britan and to this at preseant, our oppressed neglected native country The basis of good government is as Jeremy Benteams observes. the greatest good of the greatest number and i heartly hope this principle the wisdom of the legislature will see fit or any year clapse to adopt on every measme connected with India.
The fact is, that so far from any display of enthusiastic affection, a Suttee is a spectacle of misery, exciting in the spectator a melancholy reflection upon the tyranny of superstition and priest craft. The poor creatures who suffer from this inhuman rite, have but little notion of the heaven and the million years of uninterrupted happiness to which their spiritual guides tell them to look forward. The choice of immediate death, or a protracted existence, where to be only must contend their desire, is all that is offered to them; and who under such circumstances would hesitate about the preference? The most degrading and humiliating household offices must be performed by a Hindu Widow; shc is not allowed more food than will suffice to keep her alive; she must sleep upon the bare earth; and suffer indignities from the youngest members of her family; these are lanthropic views of some individuals are directed to the abolition of widow-burning; but only a few of her sufferings. The phi- they should first ensure the comfort of these unhappy women in their widowhood-other wise, instead of conferring a boon upon them, existence will be to many a drudge, and a load."
Derozio approvingly quotes a writer from the Indian Magazine and endorses the latter's opinion that sati constitutes the most barbaric and degrading aspect of Indian society which can be overcome through education and intellectual development. Nonetheless with all his self- assurance and animosity for con-cremation, Derozio seems somewhat bewildered by cases of willful self-immolation. During the nineteenth century many upper caste Hindu women willful- ly committed sati mistakenly believing in the veracity of the-Hindu ritual, as if mesmerized into an abominable act through a long process of socialization.
[ ] To Sum up....
The issue of sati was not just a social phenomenon. Natural causes and hygienic practice also aggravated the malaise. It must however be remembered that the increase in the number of sati was also related to a large extent to the spread of cholera epidemics in the nineteenth century that originated along the banks of the Ganges River and spread to other parts of the world reaching through the Middle East and Europe up to the United States. The unhygienic conditions Calcutta vce quilc conducive to the spread of the disease. Tlie ludialn habit of delecating by the banks of the Ganga River and the warm waters of the river multiplied the cholera virus that entered human body through drinking water drawn for it. Derozio himself met an untimely death through contracting cholera. Though there were many reasons for the increase of incidents of sali in Bengal the. death rate of married Bengali males was a alv significant factor."
[ ] Topic :Background of The Fakeer of Jungheera
[ ] Total word : 1854
[ ] Submitted to : S.B. Gardi Department of English MKB University
Theory of catharsis Literary theory and criticism
[ ] Name : Sanjay A. Dharaiya
[ ] Course : M.A.
[ ] Sem : 1
[ ] Year : 2019-2020
[ ] Roll : 33
[ ] Enrollment : 2069108420200009
[ ] Email id : dharaiy9@gmail.com
[ ] Paper : 3 Literary Theory & Criticism
[ ] Topic : Various Theory of Catharsis
[ ] Total word : 1510
[ ] Submitted to : S.B. Gardi Department of English MKB University
[ ] Meaning of Catharsis :
‘Catharsis’ is a Greek word. It means “purgation”, “purification” and “clarification”. It has been used only once by Aristotle in his ‘Poetics’ while defining Tragedy, “Tragedy then is an imitation of an action that is serious, complete, and of a certain magnitude through pity and fear effecting the proper ‘Catharsis’ of these emotions” Based on the three meanings of the word, ‘Catharsis’ different theories have been evolved to explain Aristotle’s conception of tragic ‘Catharsis.
[ ] Katharsis Its different Interpretations :
In the politics, while defining tragedy, Aristotle writes that the function of tragedy is to arouse the emotions of pity and fear, and in this way to affect the Katharsis of this emotions Aristotle has used the term Katharsis only ones. but many and strange are the interpretations of the world that have been given ever since the Renaissance. no pharase, probably in ancient or Morden literature has been handled so frequently by commentators and critics, and by poet's and by men who know greek and by man who know no greek. Most varried and ingenious explanations have been given. This confusion arises from the fact that Aristotle himself have been has not explained what exactly he meant by the word.
nor do we get any direct aid from the Poetic in interpreting the Greek phrase. For this reason, help and guidance has to be taken from his other works, more specially from his Politics and his second Ethics. Greek word katharsis has three meanings. It means, "purgation", purification and "clarification, and each critic has used the word in one or the other of these varried senses, and has reached according-ly a different conclusion regarding the function and emotional effects of tragedy All agree that Tragedy arrouses fear and pity but there are sharp differences as to the process, the way by which the rousing of these emotions gives pleasure. We would first examine the different interpretations of the word. Catharsis and then give the interpretation which seems most appealing and convincing.
[ ] Purgation Theories :
Katharsis has been taken to be a medical metaphor, purgation denoting a pathological effect on the soul analogous to the effect of medicine on the body. By some the process has been likened.
Catharsis’ has been taken to be a medical metaphor. ‘Purgation’ denotes a pathological effect on the soul similar to the effect of medicine on the body. pity and fear are roused and form ‘purgation’ of these emotions. Thus, ‘Catharsis’ implies relief.
As per Pathological treatment with the unlike curing unlike, the arousing of pity and fear was supposed to bring about the purgation of other emotions like anger and pride.
To homeopathic treatment with the like curing the like, and thus, it is said, the rousing of pity and fear results in the 'purgation'. of these emotion. This view is borne out by a passage in the Poetics where Aristotle refers to religious frenzy. It is this view that Milton also expresses in the Preface to samson agonistes when he says that tragedy by rousing pity and fear purges the mind of these or such like emotions, that is, tempers or reduces them to a fear, artificially stirred, expel the latent pity and fear which we bring with us from real life." Such incidental emotions as anxiety, self pity, etc., are also quieted. In our sympathy for the sufferer on the stage, we calm which follows when the passion is spent, an emotional cure is wrought. irg previous excitation of the tragic emotions. Important critics like Twining and Barney (1957), a kind of homeopathic treatment.
[ ] Psychological Interpretation :
F.L. Lucas rejects the idea that Katharsis as used by Aristotle is medical metaphor, and says that, "the theatre is not a hospital. of safety valve. Pity and fear are aroused, we emotions, which we cannot do in real life, and this safe and free outlet of these emotions is followed by emotional relief. In real life they Both FL Lucas and Herbert Reed regard it as a kind give free piay to these are repressed, and in the theater the free indulgence in these emotions aroused by the suffering of the hero, is safe and brings rclief to our pent up souls.
IA Richards' approach to the process is also psychological. Fear is the impulse to withdraw and pity is the impulse are harmonised and blended in Tragedy, and this balance brings relief and repose.
[ ] Ethical and Theological interpretation :
The ethical interpretation is that the tragic process is a kind of lustration of the soul and inner illustration resulting in a more balanced attitude to life and its suffering. thus John Gassner says that only enlightenment a clear comprehension of what was involved in the struggle an understanding of cause and effect. A judgement on what we have witnessed can result in a state of mental equilibrium and rest. And can ensure complete aesthetic gratification. Tragedy make us realise that devine low operate in the universe. Shaping everything for the best.
In Ethical Interpretation it is explained that Divine law is working to make the universe the best place for living. the ethical interpretation is a kind of inner illumination resulting in a more balanced attitude to life. Tragedy makes us realize that divine law operates in the universe shaping everything for the best.
During the Renaissance Robertello and Castelverro suggested that tragedy helped to harden or temper the emotions"juat as soldiers overcome their fear and death after seeing in frequently on the battlefield. So spectators become hardened to the pittiable and fearful event of life by witnessing themin tragedies.
[ ] The Purification Theory :
Thus the critical wrangling as gone on throgh the ages. It is forgotten that the Greek word. Catharsis has three meanings. It means purgation a medical term, and purification and also clarification. Now Aristotle had medical loving his father was a doctor and he himself was keenly interested in the science but he had no religious leanings. and hence it has been supposed that he used the word in the medical sense alone. Advocated in the purgation theory cite the passage towards the end of politics reffed to above where he speak of religioas frenzy mania being cured by certain religious tunes. This reminds us of platos concept of internal agitation being quelled by an external agitaion as in the ease of a child whom the nurse rocks s that he may go sleep from all this evidence. the critics conclude that Aristotle's conception ofKatharsis is that of homeopatic treatment it is a sort of mental cure brought about by the excitation of the emotions pity and fear, and the purgasion of all that is morbid and painful these emotions. They are thus reduced to a just measure however Humphrey House docs not agree and rejected with this view idea of purgation in the medical sense of the term. and become the most forcelul advocate of the the idea of moral istruction ai moral conditioning". which the specialist under largely and penetrating discussion o! the whole question. Humphrey House points out may be a the body brought about. instead ot suppressing them. trains them and brings back the soul to a balanced sate He released to Aristotle s, Nicomachea Ethics and other works and regards Katharsis wis as an educative, and conurolling process. In his Ethics Aristotle writes: Virtue Now Aristotle a made isolated mings Advocates other purgation This remisds of Plato's concept in From is also They are thus reduced to adjust measure However He rejectes title becomes theoary.
[ ] The clarification Theory :
As O.B. Hardison points out, indications as to Aristotle's meaning of the word Catharsis are provided by The Poetics itse!f. While writing of the pleasure of imitative art in Chapter IV, he says that the pleasure produced is associated with learrning and that it is a pleasure enjoyed by men in general, sopher. He points out that, if wel imitated, pictures corpses and ugly animals give pleasure. The paradox of pleasure being aroused by the ugly and the repellent in everyday life is also the paradox involved in tragedy. Tragic incidents are fearful. They include even such horrible aimself, a wife murdering her husband, or a mother slaying her children. Such incidents instead of repelling us, as in life, produce pleasure when presented in a great tragedy. This is the tragic paradox this is the pleasure peculiar to tragedy. Aristotle clearly tells us that we should not seek for every pleasure from tragedy, "but only the pleasure proper to it." 'Catharsis' refers to the tragic variety of pleasure. tion of tragedy, wiiness tragedies. The Catharsis clause is thus a definition of the function of tragedy and not of its emctional effects on the audience. In the view of O.B. Hardison, most translators have erred in rela- ting Catharsis, not to the incidents of the tragedy, but to the emo- tions of pity and fear excited in the audience. as well as by the philo- even of pitiable and blinding events as a man they would do To provide such pleasure is the function.
[ ] Course : M.A.
[ ] Sem : 1
[ ] Year : 2019-2020
[ ] Roll : 33
[ ] Enrollment : 2069108420200009
[ ] Email id : dharaiy9@gmail.com
[ ] Paper : 3 Literary Theory & Criticism
[ ] Topic : Various Theory of Catharsis
[ ] Total word : 1510
[ ] Submitted to : S.B. Gardi Department of English MKB University
[ ] Meaning of Catharsis :
‘Catharsis’ is a Greek word. It means “purgation”, “purification” and “clarification”. It has been used only once by Aristotle in his ‘Poetics’ while defining Tragedy, “Tragedy then is an imitation of an action that is serious, complete, and of a certain magnitude through pity and fear effecting the proper ‘Catharsis’ of these emotions” Based on the three meanings of the word, ‘Catharsis’ different theories have been evolved to explain Aristotle’s conception of tragic ‘Catharsis.
[ ] Katharsis Its different Interpretations :
In the politics, while defining tragedy, Aristotle writes that the function of tragedy is to arouse the emotions of pity and fear, and in this way to affect the Katharsis of this emotions Aristotle has used the term Katharsis only ones. but many and strange are the interpretations of the world that have been given ever since the Renaissance. no pharase, probably in ancient or Morden literature has been handled so frequently by commentators and critics, and by poet's and by men who know greek and by man who know no greek. Most varried and ingenious explanations have been given. This confusion arises from the fact that Aristotle himself have been has not explained what exactly he meant by the word.
nor do we get any direct aid from the Poetic in interpreting the Greek phrase. For this reason, help and guidance has to be taken from his other works, more specially from his Politics and his second Ethics. Greek word katharsis has three meanings. It means, "purgation", purification and "clarification, and each critic has used the word in one or the other of these varried senses, and has reached according-ly a different conclusion regarding the function and emotional effects of tragedy All agree that Tragedy arrouses fear and pity but there are sharp differences as to the process, the way by which the rousing of these emotions gives pleasure. We would first examine the different interpretations of the word. Catharsis and then give the interpretation which seems most appealing and convincing.
[ ] Purgation Theories :
Katharsis has been taken to be a medical metaphor, purgation denoting a pathological effect on the soul analogous to the effect of medicine on the body. By some the process has been likened.
Catharsis’ has been taken to be a medical metaphor. ‘Purgation’ denotes a pathological effect on the soul similar to the effect of medicine on the body. pity and fear are roused and form ‘purgation’ of these emotions. Thus, ‘Catharsis’ implies relief.
As per Pathological treatment with the unlike curing unlike, the arousing of pity and fear was supposed to bring about the purgation of other emotions like anger and pride.
To homeopathic treatment with the like curing the like, and thus, it is said, the rousing of pity and fear results in the 'purgation'. of these emotion. This view is borne out by a passage in the Poetics where Aristotle refers to religious frenzy. It is this view that Milton also expresses in the Preface to samson agonistes when he says that tragedy by rousing pity and fear purges the mind of these or such like emotions, that is, tempers or reduces them to a fear, artificially stirred, expel the latent pity and fear which we bring with us from real life." Such incidental emotions as anxiety, self pity, etc., are also quieted. In our sympathy for the sufferer on the stage, we calm which follows when the passion is spent, an emotional cure is wrought. irg previous excitation of the tragic emotions. Important critics like Twining and Barney (1957), a kind of homeopathic treatment.
[ ] Psychological Interpretation :
F.L. Lucas rejects the idea that Katharsis as used by Aristotle is medical metaphor, and says that, "the theatre is not a hospital. of safety valve. Pity and fear are aroused, we emotions, which we cannot do in real life, and this safe and free outlet of these emotions is followed by emotional relief. In real life they Both FL Lucas and Herbert Reed regard it as a kind give free piay to these are repressed, and in the theater the free indulgence in these emotions aroused by the suffering of the hero, is safe and brings rclief to our pent up souls.
IA Richards' approach to the process is also psychological. Fear is the impulse to withdraw and pity is the impulse are harmonised and blended in Tragedy, and this balance brings relief and repose.
[ ] Ethical and Theological interpretation :
The ethical interpretation is that the tragic process is a kind of lustration of the soul and inner illustration resulting in a more balanced attitude to life and its suffering. thus John Gassner says that only enlightenment a clear comprehension of what was involved in the struggle an understanding of cause and effect. A judgement on what we have witnessed can result in a state of mental equilibrium and rest. And can ensure complete aesthetic gratification. Tragedy make us realise that devine low operate in the universe. Shaping everything for the best.
In Ethical Interpretation it is explained that Divine law is working to make the universe the best place for living. the ethical interpretation is a kind of inner illumination resulting in a more balanced attitude to life. Tragedy makes us realize that divine law operates in the universe shaping everything for the best.
During the Renaissance Robertello and Castelverro suggested that tragedy helped to harden or temper the emotions"juat as soldiers overcome their fear and death after seeing in frequently on the battlefield. So spectators become hardened to the pittiable and fearful event of life by witnessing themin tragedies.
[ ] The Purification Theory :
Thus the critical wrangling as gone on throgh the ages. It is forgotten that the Greek word. Catharsis has three meanings. It means purgation a medical term, and purification and also clarification. Now Aristotle had medical loving his father was a doctor and he himself was keenly interested in the science but he had no religious leanings. and hence it has been supposed that he used the word in the medical sense alone. Advocated in the purgation theory cite the passage towards the end of politics reffed to above where he speak of religioas frenzy mania being cured by certain religious tunes. This reminds us of platos concept of internal agitation being quelled by an external agitaion as in the ease of a child whom the nurse rocks s that he may go sleep from all this evidence. the critics conclude that Aristotle's conception ofKatharsis is that of homeopatic treatment it is a sort of mental cure brought about by the excitation of the emotions pity and fear, and the purgasion of all that is morbid and painful these emotions. They are thus reduced to a just measure however Humphrey House docs not agree and rejected with this view idea of purgation in the medical sense of the term. and become the most forcelul advocate of the the idea of moral istruction ai moral conditioning". which the specialist under largely and penetrating discussion o! the whole question. Humphrey House points out may be a the body brought about. instead ot suppressing them. trains them and brings back the soul to a balanced sate He released to Aristotle s, Nicomachea Ethics and other works and regards Katharsis wis as an educative, and conurolling process. In his Ethics Aristotle writes: Virtue Now Aristotle a made isolated mings Advocates other purgation This remisds of Plato's concept in From is also They are thus reduced to adjust measure However He rejectes title becomes theoary.
[ ] The clarification Theory :
As O.B. Hardison points out, indications as to Aristotle's meaning of the word Catharsis are provided by The Poetics itse!f. While writing of the pleasure of imitative art in Chapter IV, he says that the pleasure produced is associated with learrning and that it is a pleasure enjoyed by men in general, sopher. He points out that, if wel imitated, pictures corpses and ugly animals give pleasure. The paradox of pleasure being aroused by the ugly and the repellent in everyday life is also the paradox involved in tragedy. Tragic incidents are fearful. They include even such horrible aimself, a wife murdering her husband, or a mother slaying her children. Such incidents instead of repelling us, as in life, produce pleasure when presented in a great tragedy. This is the tragic paradox this is the pleasure peculiar to tragedy. Aristotle clearly tells us that we should not seek for every pleasure from tragedy, "but only the pleasure proper to it." 'Catharsis' refers to the tragic variety of pleasure. tion of tragedy, wiiness tragedies. The Catharsis clause is thus a definition of the function of tragedy and not of its emctional effects on the audience. In the view of O.B. Hardison, most translators have erred in rela- ting Catharsis, not to the incidents of the tragedy, but to the emo- tions of pity and fear excited in the audience. as well as by the philo- even of pitiable and blinding events as a man they would do To provide such pleasure is the function.
Characteristics of Anti sentimental comedy The neo classical literature
[ ] Name : Sanjay A. Dharaiya
[ ] Course : M.A.
[ ] Sem : 1
[ ] Year : 2019-2020
[ ] Roll : 33
[ ] Enrollment : 2069108420200009
[ ] Email id : dharaiy9@gmail.com
[ ] Paper 2 : The Neo Classical Literature
[ ] Topic : Characteristics of Anti sentimental comedy
[ ] Total word : 3127
[ ] Submitted to : S.B. Gardi Department of English MKB University
Question : (1) Discuss the characteristics of Anti-Sentimental comedy with reference to
1. She stoops to conquer
2. The Rivals
3. The School for Scandal
[ ] Introduction :
When we discuss about the Anti-sentimental comedy, first we clear the idea about, what is sentimental comedy?
The sentimental comedy of 18h century was, in fact, reaction against the comedy of manners which had been voyage during the restoration period. It appeals especially to our feeling of sorrow, pity, compassionate sympathy.
Anti-sentimental comedy is reaction against sentimental comedy :
The sentimental comedy did not last language. The sentimental soon degenerated into sentimentality. The aim of writers of the comedy of manners was to make fun of pious and holy character. Middle class mortality was ridiculed and the writers of the schools made attempts to bring virtue and virtuous characters, under the withering scorn their cynical attitude towards morality.
[ ] Anti sentimental comedy :
Anti-Sentimental comedy is reaction against sentimental comedy . The comedy of humor which goldsmith and Sheridan cultivate in eighteen century was the reaction against the sentimental comedy of clibber, Steele, Kelly. Goldsmith opposed sentimental comedy because it place of laughter and humors.
So, this way there is new and success outpul in Anti-Sentimental comedy, it takes old forms of comedy, comedy of manner, which is also called, generally for Anti-Sentimental Comedy.
Anti-Sentimental Comedy is going to old forms, it is a low force, situational humor. it is high polished in restoration comedy.
" Anti-Sentimental Conedy is one that does not use emotions to evoke reflection in an audience Instead of an Anti-Sentimental comedy will use cynicism to achieve it's message."
Anti-Sentimental Comedy is comedy of manners less the vulgarity and the profanity. We know that it deals with the relation and intrigues and many more things.
[ ] Characteristics of Anti-Sentimental Comedy...
• Amusing intrigues and situations
• Satirical comedy and Irony
• Marriage for Love and Marriage for Money
• Wit of Language and verbal dialogue
• Farce and disguise
• Emotions have boundaries
Generally the anti-sentimental comedy deals with the, and it is always focus on major character as lover. And it is devided into subplot like the dramatic way and the relations with the pathos.
So, lets discuss the anti sentimental comedy with its characteristics. So here it is Anto sentimental comedy.
1. The Rival
2. The school for scandal
3. She stoop to conquer
[ ] (1) She stoop to conquer :
This wonderful comedy by genius playwright Oliver Goldsmith in it's time ; heal ding the era of laughing comedies and being contemporary to other plays.
The story Revolves around the family of Hardcastle and their friends. Goldsmith brings out the comic effect in depicting these character, their foibles and schemes and in which lend them in more troubles .in the very beginning of play In the first scene speech by Mr. Hardcastle....
"I love everything that is old; old friends , old times, old manners Old books, old wine, and I believe, Dorothy, you'll own I have been Pretty fond of an old wife"
Though not written by Goldsmith, the play's prologue is useful in the way it provides insight into Goldsmith's purpose in the play. Obviously, the most explicit purpose is to make the audience laugh. The speaker Mr. Woodward, who would have been portrayed by a different actor comes out in mourning, already having been crying, which in a way poses a challenge to the play. If we, as actors and audience, are in a state of sadness, can the play lift our spirits?
However, most relevant is the state of affairs sculpted here. The prologue mirrors the trend in desperately trying to change. At the time of She Stoops commonly termed "sentimental theatre that writers like Goldsmith were to Conquer, popular theatre comedy omedy" and "laughing comedy." The former was concerned with bourgeois (middle-class) morality and with praising virtue. The latter, which dated back to the Greeks and Romans and through Shakespeare, Woodward suggests that a certain class of actor (and by extension, then, audience and writer) was separated into what was was more willing to engage in "low" humor for the sake of mocking vice. dying out as sentimental comedy became more popular. So Goldsmith's play has an extra were purpose: it must rejuvenate the joy taken in "laughing comedy," which could be willing to be stupid, to dramatize base characters and characteristics, and to mock even the characters who profess to be moral.
it's worth reviewing the "About 'An Essay explains in more detail the context of the theatre of the time, since it will provide on the Theatre" section of this Classic Note that an even more in-depth understanding of the purpose suggested in this prologue. But even without such extensive historical rescarch, the prologue brings the audicncc in with a particular question: this play remind us that truc comcdy, which is willing to be silly and unpretentious, is the most entcrtaining of all?
Though in this play Goldsmith presented image through the character. love is central theme, but for money also. There are amusing intrigues and plans in the play, it is also satirical one.
[ ] (2) The Rival :
Undoubtedly Sheridan's purpose in writing "The Rivals" was to entertain the audience by making them laugh and not by making them shed tears. "The Rivals" was written as a pure and simple. Though there are certainly a few sentimental scenes in this play yet they as a parody of sentimentality. The scenes between Falkland and Julia are satire on the sentimental comedy.which was in fashion in those days and against which Sheridan revolted. comedy are regarded A brief examination of this sentimental would clearly reveal that Sheridan s intention was to poke fun at the sentimental comedy of the time. We find both Faulkland's and Julia absurd. The true character of Faulkland is indicated to us by Absolute's description of him as the "most teasing, captious, incorrigible lover". Faulkland's own description of his state of mind about his beloved Julia also makes him appear absurd. He says that every hour is an occasion for him to feel alarmed on Julia's account. If it rains, he feels afraid lest some shower should have chilled her. If the wind is sharp, he feels afraid lest a rude blast should adversely affect her health. The heat of the noon and the dews of the evening may endanger her health. All this is funny and certainly no to be taken seriously. Sheridan is here ridiculing the excessive solicitude and concern which an over-sentinental lover like Faulkland experiences when separated from his beloved Sheridan seems to be pleasing for mental equilibrium even in the case of an ardent lover.
Sheridan continues to portray Faulkland in the same satirical manner. When Acres appears and is questioned by Absolute regarding Julia's activities in the countryside, Acres replied that Julia has been enjoying herself thoroughly and been having a gay time. Now, a normal lover would feel extremely happy to learn this. We expect the same reaction from Faulkland because he had assured Absolute that he would feel happy "beyond measure" if he were certain that Julia was hale and hearty. But his actual reaction is quite different and greatly amuses us by its absurdity.
In both his interviews with Julia, Faulkland betrays the same absurdity. In the first interview, he complains to her of the mirth and gaiety that she as been enjoying during his absence. He wants to be loved for his own sake and for no "fixed and ardent". In short, his whole manner of talking to her and his soliloquy at the end of this scene reveals him in a still more comic light.
The second interview again shows him a ridiculous light. He subjects Julia to a test in order to convince himself of the sincerity of her love. The author's intention is to show the absurd length to which an over-sentimental lover can go, and the author expects us to laugh at this kind of lover.
Even Julia suffers from an excessive sentimentality and she too is made to appear absurd and ridiculous for that reason. The manner in which she describes her lover toLydia shows the kind of mentality that she has. In the two interviews with Faulkland, Julia is again over-flowing with emotion. We smile at the way she behaves; we are amused by her excess of emotion; we mock at the abject surrender to her lover and her repeated attempts to make up with him.
Lydia too is an over-sentimental girl though in a different way; and she too becomes the subject of ridicule in the play. Her romantic ideas and her romantic planning appear absurd to us. She wants not the usual routine marriage but a runaway marriage. Now all this makes us laugh at her superficiality and silliness. These absurd notions have been derived by her from the sentimental and romantic stories to which she is addicted. The collapse of her romantic hopes disappoints her greatly but amuses us a good deal.
The manner in which the other characters have been portrayed is also evidence of the anti- sentimental character of the play. Captain Absolute is a practical man and though he assumes the name and status of Ensign Beverley, he would not like to forfeit the rich dowry which Lydia will bring lim. Mrs. Malaprop is a conventional, practical woman whose attitude to marriage is business-like. Sir Anthony to is a practical, worldly man. Bob Acres is a country boor with no romantic or sentimental pretensions but towards the end of the play he shows that he is more practical than anybody else by saying:
"If I can't get a wife without fighting for her, by any valour, I'll live a bachelor."
Then there is Sir Lucius who is absurd but not because of nay sentimentality. One reason why he is absurd is because of his insistence on fighting duels. But he does not want to fight duels for the sake f any sentiment.
When Sheridan himself fought a couple of duels for the sake of Miss Elizabeth Linley, there was a strong emotion behind them, but here we have a mockery of dueling and we are made to laugh at the manner in which these duels are arranged.
[ ] (3) The School for scandal :
Lady Sneerwell, who in her youth was the target of slander, has set her life upon a course to reduce the reputations of other women to the level of her own. Aided by her intimate, Snake, she intrigues to involve the Teazles in scandal, to bring Joseph Surface's true character to light, to wreck the love between Charles and Maria, and to gain Charles for herself along with Sir Oliver's fortune. To her the world consists of nothing but scandal and scandalous intrigues, and she does her best to make her vision a reality. She is not successful, however, when she abuses Charles Surface to Sir Peter Teazle's ward Maria, who refuses to listen to her. Instead, Maria trustingly confides in Lady Candour, whose defense of a reputation ensures its complete annihilation.
Sometimes Sir Peter Teazle ponders the wisdom of his marriage to Lady Teazle, doubting the judgment of an old bachelor in marrying a young wife. Lady Teazle is a country-bred girl who is enjoying London life extravagantly and to the full. Sir Oliver Surface is concerned about his two nephews, his problem being the disposal of his great fortune. Sir Oliver has been abroad for the past fifteen years and feels that he does not know his nephews' real natures; he hopes by some stratagem to catch them unawares and thus be able to test their characters. One day, Sir Peter and Lady Teazle quarrel because Sir Peter violently objects to her attendance at the home of Lady Sneerwell. Lady Teazle accuses Sir Peter of wishing to deprive her of all freedom and reminds him that he has promised to go to Lady Sneerwell's with her. He retorts that he will do, so for only Snccrwell's rooms are full of people uttering libelous remarks about their enemies and saying one reason, to look after his own character. When they arrive, Lady things about their friends. Sir Peter escapes as soon as possible.
When the rest of Lady Sneerwell's guests retire to the card room, leaving Maria and Joseph alone, Joseph once more presses his suit. He insinuates that Maria is in love with Charles and is thus running counter to Sir Peter's wishes. Lady Teazle walks in just as avowing his honest love. Surprised, Lady Teazle tells Maria that she is wanted in the next room. After Maria leaves, Lady Teazle asks Joseph for an explanation of what she has seen, and he tells her that he was pleading with Maria not to tell Sir Peter of his tender concern for Lady Teazle.
Joseph is on his knees Sir Oliver consults Rowley, Sir Peter's shrewd and observing servant, in an attempt to learn more about his nephews' characters. Rowley himself believes that Joseph does not have as good a character as his reputation consults Sir Peter, who declares that he is ready to stake his life on put out, therefore, when Maria once more refuses to marry Joseph.
seems to indicate and that Charles has a better one. Sir Oliver also Joseph's honor. He is much Sir Peter, Sir Oliver, and Rowley plan to test the worthiness of the nephews. Charles is, as usual, in dire need of money, and Sir Oliver arranges to accompany a moneylender who is going to see Charles; Sir Oliver will claim to be Mr. Premium, a man who can supply the money that Charles needs. When they arrive at Charles's lodging, a drinking party is in progress, and some of the playing games of dice. Sir Oliver is not at all impressed with Trip, Charles's footman, guests are who gives himself the airs of a fashionable man-about-town.
Upon investigating, Sir Oliver discovers that Charles has, with the exception only of the portraits of his ancestors, turned all of his inherited possessions into cash. Convinced that Charles is scamp, Sir Oliver, still calling himself Premium, agrees to buy the paintings, and he purchases each picture as money. Sir Oliver is pleased by this fact and on that ground discounts Charles's reputation for extravagance. Charles receives a draft for eight hundred pounds for the portraits and immediately sends one hundred pounds to Mr. Stanley, a poor relation whose financial circumstances are even a presented except his own portrait, which Charles will not sell for any amount of worse than his own.
During advises her to give her husband grounds for jealousy rather than to suffer his jealousy without assignation between Joseph Surface and Lady Teazle in Joseph's library, Joseph an cause. He argues that to save her reputation she must ruin it and that he is the man best able to help her. Lady Teazle considers such a doctrine very odd.
While they talking, Sir Peter arrives unexpectedly, and Lady Teazle hides behind the screen that Joseph orders placed against the window. Joseph then pretends to be reading when Sir Peter walks in. Sir Peter has called to inform Joseph of his suspicions that Lady Teazle is having settling are an affair with Charles; Sir Peter also shows Joseph two deeds he has brought with him, one Lady Teazle for her independent use, the other giving her the eight hundred pounds a year on bulk of his fortune at his death. Joseph's dissimulation before Sir Peter and Sir Peter's generosity to her are not lost on Lady Teazle. When Sir Peter begins to discuss Joseph's desire to wed Maria, Lady Teazle realizes that Joseph has been deceiving her.
Below stairs, Charles inopportunely demands entrance to the house to see his brother. Not wishing to see petticoat behind the screen, but Joseph assures him that the woman behind the screen is only a French milliner who plagues him. Sir Peter hides in a closet, and Lady Teazle remains in her hiding place behind the screen.
Charles, Sir Peter asks Joseph where he can hide. Sir Peter catches a glimpse of a When Charles comes in, he and Joseph discuss Lady Teazle and Sir Peter's suspicion that Charles is her lover. Chares mentions tlhat he believes Joseph to be her favorite and recounts all the little incidents that lead him to think so. Embarrassed by this turn in the conversation, Joseph interrupts to say that Sir Peter is within hearing. Placed in a difficult position, Charles explains to Sir Peter that he has merely been playing joke Joseph. Sir Peter knows a good joke a on on Joseph, too, he says: Joseph is having have a look at the milliner and pulls down the screen, revealing Lady Teazle. Joseph is undone because Lady Teazle refuses to agree with any of the excuses he makes. She angrily informs her husband of the whole nature of Joseph's intentions and departs. Sir Peter follows her, leaving an affair with a milliner. Charles decides that he wants to Joseph to his own conscience.
Sir Oliver, masquerading Joseph's apartment. Joseph refuses to help Mr. Stanley, saying that he receives very little money from Sir Oliver and claiming that he has advanced all his funds to Charles. After Sir Oliver leaves, Rowley, who is a party to the whole scheme, comes to tell Joseph that Sir Oliver has as Mr. Stanley and badly in need of assistance, gains admittance to arrived in town.
Sir Oliver goes again to see showing him out just Premium in his brother's apartment, also insists that he leave, but at that moment Sir Peter Teazle arrives and addresses Sir Oliver by his right name. Both Sir Oliver and Sir sPeter are now Joseph. Still believing that his uncle is Mr. Stanley, Joseph is as Charles enters. Charles, surprised to see the man he knows as Mr. aware of Joseph's real character. Charles, promising to try to reform, gets Maria and his uncle's inheritance as well. Lady Sneerwell is exposed by Snake, who is paid double to speak the truth, and Lady Teazle returns her diploma to the School for Scandal, of which Lady Sneerwell is president. Everyone is happy except Lady Sneerwell and Joseph Surface.
[ ] Let's sum up....
Anti-Sentimental comedy this forms is becomes popular with the comedies that were presented by oliver goldsmith 's she stoops to conquer and Richard Brinsley sheridan's The Rival and school for scandal it is kind of comedy representing complex and sophisticated code of behavior current in fashionable circle of society.
[ ] Course : M.A.
[ ] Sem : 1
[ ] Year : 2019-2020
[ ] Roll : 33
[ ] Enrollment : 2069108420200009
[ ] Email id : dharaiy9@gmail.com
[ ] Paper 2 : The Neo Classical Literature
[ ] Topic : Characteristics of Anti sentimental comedy
[ ] Total word : 3127
[ ] Submitted to : S.B. Gardi Department of English MKB University
Question : (1) Discuss the characteristics of Anti-Sentimental comedy with reference to
1. She stoops to conquer
2. The Rivals
3. The School for Scandal
[ ] Introduction :
When we discuss about the Anti-sentimental comedy, first we clear the idea about, what is sentimental comedy?
The sentimental comedy of 18h century was, in fact, reaction against the comedy of manners which had been voyage during the restoration period. It appeals especially to our feeling of sorrow, pity, compassionate sympathy.
Anti-sentimental comedy is reaction against sentimental comedy :
The sentimental comedy did not last language. The sentimental soon degenerated into sentimentality. The aim of writers of the comedy of manners was to make fun of pious and holy character. Middle class mortality was ridiculed and the writers of the schools made attempts to bring virtue and virtuous characters, under the withering scorn their cynical attitude towards morality.
[ ] Anti sentimental comedy :
Anti-Sentimental comedy is reaction against sentimental comedy . The comedy of humor which goldsmith and Sheridan cultivate in eighteen century was the reaction against the sentimental comedy of clibber, Steele, Kelly. Goldsmith opposed sentimental comedy because it place of laughter and humors.
So, this way there is new and success outpul in Anti-Sentimental comedy, it takes old forms of comedy, comedy of manner, which is also called, generally for Anti-Sentimental Comedy.
Anti-Sentimental Comedy is going to old forms, it is a low force, situational humor. it is high polished in restoration comedy.
" Anti-Sentimental Conedy is one that does not use emotions to evoke reflection in an audience Instead of an Anti-Sentimental comedy will use cynicism to achieve it's message."
Anti-Sentimental Comedy is comedy of manners less the vulgarity and the profanity. We know that it deals with the relation and intrigues and many more things.
[ ] Characteristics of Anti-Sentimental Comedy...
• Amusing intrigues and situations
• Satirical comedy and Irony
• Marriage for Love and Marriage for Money
• Wit of Language and verbal dialogue
• Farce and disguise
• Emotions have boundaries
Generally the anti-sentimental comedy deals with the, and it is always focus on major character as lover. And it is devided into subplot like the dramatic way and the relations with the pathos.
So, lets discuss the anti sentimental comedy with its characteristics. So here it is Anto sentimental comedy.
1. The Rival
2. The school for scandal
3. She stoop to conquer
[ ] (1) She stoop to conquer :
This wonderful comedy by genius playwright Oliver Goldsmith in it's time ; heal ding the era of laughing comedies and being contemporary to other plays.
The story Revolves around the family of Hardcastle and their friends. Goldsmith brings out the comic effect in depicting these character, their foibles and schemes and in which lend them in more troubles .in the very beginning of play In the first scene speech by Mr. Hardcastle....
"I love everything that is old; old friends , old times, old manners Old books, old wine, and I believe, Dorothy, you'll own I have been Pretty fond of an old wife"
Though not written by Goldsmith, the play's prologue is useful in the way it provides insight into Goldsmith's purpose in the play. Obviously, the most explicit purpose is to make the audience laugh. The speaker Mr. Woodward, who would have been portrayed by a different actor comes out in mourning, already having been crying, which in a way poses a challenge to the play. If we, as actors and audience, are in a state of sadness, can the play lift our spirits?
However, most relevant is the state of affairs sculpted here. The prologue mirrors the trend in desperately trying to change. At the time of She Stoops commonly termed "sentimental theatre that writers like Goldsmith were to Conquer, popular theatre comedy omedy" and "laughing comedy." The former was concerned with bourgeois (middle-class) morality and with praising virtue. The latter, which dated back to the Greeks and Romans and through Shakespeare, Woodward suggests that a certain class of actor (and by extension, then, audience and writer) was separated into what was was more willing to engage in "low" humor for the sake of mocking vice. dying out as sentimental comedy became more popular. So Goldsmith's play has an extra were purpose: it must rejuvenate the joy taken in "laughing comedy," which could be willing to be stupid, to dramatize base characters and characteristics, and to mock even the characters who profess to be moral.
it's worth reviewing the "About 'An Essay explains in more detail the context of the theatre of the time, since it will provide on the Theatre" section of this Classic Note that an even more in-depth understanding of the purpose suggested in this prologue. But even without such extensive historical rescarch, the prologue brings the audicncc in with a particular question: this play remind us that truc comcdy, which is willing to be silly and unpretentious, is the most entcrtaining of all?
Though in this play Goldsmith presented image through the character. love is central theme, but for money also. There are amusing intrigues and plans in the play, it is also satirical one.
[ ] (2) The Rival :
Undoubtedly Sheridan's purpose in writing "The Rivals" was to entertain the audience by making them laugh and not by making them shed tears. "The Rivals" was written as a pure and simple. Though there are certainly a few sentimental scenes in this play yet they as a parody of sentimentality. The scenes between Falkland and Julia are satire on the sentimental comedy.which was in fashion in those days and against which Sheridan revolted. comedy are regarded A brief examination of this sentimental would clearly reveal that Sheridan s intention was to poke fun at the sentimental comedy of the time. We find both Faulkland's and Julia absurd. The true character of Faulkland is indicated to us by Absolute's description of him as the "most teasing, captious, incorrigible lover". Faulkland's own description of his state of mind about his beloved Julia also makes him appear absurd. He says that every hour is an occasion for him to feel alarmed on Julia's account. If it rains, he feels afraid lest some shower should have chilled her. If the wind is sharp, he feels afraid lest a rude blast should adversely affect her health. The heat of the noon and the dews of the evening may endanger her health. All this is funny and certainly no to be taken seriously. Sheridan is here ridiculing the excessive solicitude and concern which an over-sentinental lover like Faulkland experiences when separated from his beloved Sheridan seems to be pleasing for mental equilibrium even in the case of an ardent lover.
Sheridan continues to portray Faulkland in the same satirical manner. When Acres appears and is questioned by Absolute regarding Julia's activities in the countryside, Acres replied that Julia has been enjoying herself thoroughly and been having a gay time. Now, a normal lover would feel extremely happy to learn this. We expect the same reaction from Faulkland because he had assured Absolute that he would feel happy "beyond measure" if he were certain that Julia was hale and hearty. But his actual reaction is quite different and greatly amuses us by its absurdity.
In both his interviews with Julia, Faulkland betrays the same absurdity. In the first interview, he complains to her of the mirth and gaiety that she as been enjoying during his absence. He wants to be loved for his own sake and for no "fixed and ardent". In short, his whole manner of talking to her and his soliloquy at the end of this scene reveals him in a still more comic light.
The second interview again shows him a ridiculous light. He subjects Julia to a test in order to convince himself of the sincerity of her love. The author's intention is to show the absurd length to which an over-sentimental lover can go, and the author expects us to laugh at this kind of lover.
Even Julia suffers from an excessive sentimentality and she too is made to appear absurd and ridiculous for that reason. The manner in which she describes her lover toLydia shows the kind of mentality that she has. In the two interviews with Faulkland, Julia is again over-flowing with emotion. We smile at the way she behaves; we are amused by her excess of emotion; we mock at the abject surrender to her lover and her repeated attempts to make up with him.
Lydia too is an over-sentimental girl though in a different way; and she too becomes the subject of ridicule in the play. Her romantic ideas and her romantic planning appear absurd to us. She wants not the usual routine marriage but a runaway marriage. Now all this makes us laugh at her superficiality and silliness. These absurd notions have been derived by her from the sentimental and romantic stories to which she is addicted. The collapse of her romantic hopes disappoints her greatly but amuses us a good deal.
The manner in which the other characters have been portrayed is also evidence of the anti- sentimental character of the play. Captain Absolute is a practical man and though he assumes the name and status of Ensign Beverley, he would not like to forfeit the rich dowry which Lydia will bring lim. Mrs. Malaprop is a conventional, practical woman whose attitude to marriage is business-like. Sir Anthony to is a practical, worldly man. Bob Acres is a country boor with no romantic or sentimental pretensions but towards the end of the play he shows that he is more practical than anybody else by saying:
"If I can't get a wife without fighting for her, by any valour, I'll live a bachelor."
Then there is Sir Lucius who is absurd but not because of nay sentimentality. One reason why he is absurd is because of his insistence on fighting duels. But he does not want to fight duels for the sake f any sentiment.
When Sheridan himself fought a couple of duels for the sake of Miss Elizabeth Linley, there was a strong emotion behind them, but here we have a mockery of dueling and we are made to laugh at the manner in which these duels are arranged.
[ ] (3) The School for scandal :
Lady Sneerwell, who in her youth was the target of slander, has set her life upon a course to reduce the reputations of other women to the level of her own. Aided by her intimate, Snake, she intrigues to involve the Teazles in scandal, to bring Joseph Surface's true character to light, to wreck the love between Charles and Maria, and to gain Charles for herself along with Sir Oliver's fortune. To her the world consists of nothing but scandal and scandalous intrigues, and she does her best to make her vision a reality. She is not successful, however, when she abuses Charles Surface to Sir Peter Teazle's ward Maria, who refuses to listen to her. Instead, Maria trustingly confides in Lady Candour, whose defense of a reputation ensures its complete annihilation.
Sometimes Sir Peter Teazle ponders the wisdom of his marriage to Lady Teazle, doubting the judgment of an old bachelor in marrying a young wife. Lady Teazle is a country-bred girl who is enjoying London life extravagantly and to the full. Sir Oliver Surface is concerned about his two nephews, his problem being the disposal of his great fortune. Sir Oliver has been abroad for the past fifteen years and feels that he does not know his nephews' real natures; he hopes by some stratagem to catch them unawares and thus be able to test their characters. One day, Sir Peter and Lady Teazle quarrel because Sir Peter violently objects to her attendance at the home of Lady Sneerwell. Lady Teazle accuses Sir Peter of wishing to deprive her of all freedom and reminds him that he has promised to go to Lady Sneerwell's with her. He retorts that he will do, so for only Snccrwell's rooms are full of people uttering libelous remarks about their enemies and saying one reason, to look after his own character. When they arrive, Lady things about their friends. Sir Peter escapes as soon as possible.
When the rest of Lady Sneerwell's guests retire to the card room, leaving Maria and Joseph alone, Joseph once more presses his suit. He insinuates that Maria is in love with Charles and is thus running counter to Sir Peter's wishes. Lady Teazle walks in just as avowing his honest love. Surprised, Lady Teazle tells Maria that she is wanted in the next room. After Maria leaves, Lady Teazle asks Joseph for an explanation of what she has seen, and he tells her that he was pleading with Maria not to tell Sir Peter of his tender concern for Lady Teazle.
Joseph is on his knees Sir Oliver consults Rowley, Sir Peter's shrewd and observing servant, in an attempt to learn more about his nephews' characters. Rowley himself believes that Joseph does not have as good a character as his reputation consults Sir Peter, who declares that he is ready to stake his life on put out, therefore, when Maria once more refuses to marry Joseph.
seems to indicate and that Charles has a better one. Sir Oliver also Joseph's honor. He is much Sir Peter, Sir Oliver, and Rowley plan to test the worthiness of the nephews. Charles is, as usual, in dire need of money, and Sir Oliver arranges to accompany a moneylender who is going to see Charles; Sir Oliver will claim to be Mr. Premium, a man who can supply the money that Charles needs. When they arrive at Charles's lodging, a drinking party is in progress, and some of the playing games of dice. Sir Oliver is not at all impressed with Trip, Charles's footman, guests are who gives himself the airs of a fashionable man-about-town.
Upon investigating, Sir Oliver discovers that Charles has, with the exception only of the portraits of his ancestors, turned all of his inherited possessions into cash. Convinced that Charles is scamp, Sir Oliver, still calling himself Premium, agrees to buy the paintings, and he purchases each picture as money. Sir Oliver is pleased by this fact and on that ground discounts Charles's reputation for extravagance. Charles receives a draft for eight hundred pounds for the portraits and immediately sends one hundred pounds to Mr. Stanley, a poor relation whose financial circumstances are even a presented except his own portrait, which Charles will not sell for any amount of worse than his own.
During advises her to give her husband grounds for jealousy rather than to suffer his jealousy without assignation between Joseph Surface and Lady Teazle in Joseph's library, Joseph an cause. He argues that to save her reputation she must ruin it and that he is the man best able to help her. Lady Teazle considers such a doctrine very odd.
While they talking, Sir Peter arrives unexpectedly, and Lady Teazle hides behind the screen that Joseph orders placed against the window. Joseph then pretends to be reading when Sir Peter walks in. Sir Peter has called to inform Joseph of his suspicions that Lady Teazle is having settling are an affair with Charles; Sir Peter also shows Joseph two deeds he has brought with him, one Lady Teazle for her independent use, the other giving her the eight hundred pounds a year on bulk of his fortune at his death. Joseph's dissimulation before Sir Peter and Sir Peter's generosity to her are not lost on Lady Teazle. When Sir Peter begins to discuss Joseph's desire to wed Maria, Lady Teazle realizes that Joseph has been deceiving her.
Below stairs, Charles inopportunely demands entrance to the house to see his brother. Not wishing to see petticoat behind the screen, but Joseph assures him that the woman behind the screen is only a French milliner who plagues him. Sir Peter hides in a closet, and Lady Teazle remains in her hiding place behind the screen.
Charles, Sir Peter asks Joseph where he can hide. Sir Peter catches a glimpse of a When Charles comes in, he and Joseph discuss Lady Teazle and Sir Peter's suspicion that Charles is her lover. Chares mentions tlhat he believes Joseph to be her favorite and recounts all the little incidents that lead him to think so. Embarrassed by this turn in the conversation, Joseph interrupts to say that Sir Peter is within hearing. Placed in a difficult position, Charles explains to Sir Peter that he has merely been playing joke Joseph. Sir Peter knows a good joke a on on Joseph, too, he says: Joseph is having have a look at the milliner and pulls down the screen, revealing Lady Teazle. Joseph is undone because Lady Teazle refuses to agree with any of the excuses he makes. She angrily informs her husband of the whole nature of Joseph's intentions and departs. Sir Peter follows her, leaving an affair with a milliner. Charles decides that he wants to Joseph to his own conscience.
Sir Oliver, masquerading Joseph's apartment. Joseph refuses to help Mr. Stanley, saying that he receives very little money from Sir Oliver and claiming that he has advanced all his funds to Charles. After Sir Oliver leaves, Rowley, who is a party to the whole scheme, comes to tell Joseph that Sir Oliver has as Mr. Stanley and badly in need of assistance, gains admittance to arrived in town.
Sir Oliver goes again to see showing him out just Premium in his brother's apartment, also insists that he leave, but at that moment Sir Peter Teazle arrives and addresses Sir Oliver by his right name. Both Sir Oliver and Sir sPeter are now Joseph. Still believing that his uncle is Mr. Stanley, Joseph is as Charles enters. Charles, surprised to see the man he knows as Mr. aware of Joseph's real character. Charles, promising to try to reform, gets Maria and his uncle's inheritance as well. Lady Sneerwell is exposed by Snake, who is paid double to speak the truth, and Lady Teazle returns her diploma to the School for Scandal, of which Lady Sneerwell is president. Everyone is happy except Lady Sneerwell and Joseph Surface.
[ ] Let's sum up....
Anti-Sentimental comedy this forms is becomes popular with the comedies that were presented by oliver goldsmith 's she stoops to conquer and Richard Brinsley sheridan's The Rival and school for scandal it is kind of comedy representing complex and sophisticated code of behavior current in fashionable circle of society.
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