MA / BA English Online Classes

FAUSTUS AS AN EMBODIMENT OF THE SPIRIT OF THE RENAISSANCE

’s play achieved grand stage success in his own time. Prof. Boas advocated
“Marlowe is no mere transferer to the stage of historical scenes. Even in , he passes from unifying episodes to treating episodes unified into a keen study of characters that is he wrote vividly aware of the stage on which plays would be given and of its audience. Consequently, he allowed himself methods and effects for which we may not care today but which nevertheless proved him a good technician in his own time. More than that, seeking to shape his material for that stage and for that audience he passed beyond mere dramatic persuasion of the hour and discovered for himself many of the principles of technique which hold permanently for good drama at any rate and in any tongue”
himself was saturated with the spirit of renaissance with its great faith in the individual with its sky kissing ambition to gain limitless knowledge and power its revolt against the tyrannies and dogmas of the feudalism and the church and with its love for beauty and hankering after the sensual pleasures of life .he was also inspired by the Italian to whom the gaining of individual end was the greatest thing even at the cost of all moral or ethical principles. Marlowe enlivened all his heroes with all the fascinating characteristics of the renaissance, so much so that his titanic heroes became the true embodiment of the renaissance spirit and ideals and these towering characters strutting on the stage had a mighty appeal for the audience of his age.

THOMAS STERN ELIOT VIEWS ON HAMLET

Even such men of genius as Coleridge and Goethe have substitute their own hamlet for Shakespeare’s in their criticism they have presented an image of hamlet out of their own fancy instead of remaining true and faithful to HAMLET by Shakespeare the play is most certainly an artistic failure there is much in that that is superfluous and inconsistent e.g. polonius-laertes and polonius-reyneldo scene. Versification is uneven and variable also it is much inferior to the other great tragedies. The main motif of the play is the effect of a mother’s guilt upon her son no doubt the mother degradation causes unutterable torture and anguish in the son in some case Shakespeare could not handle the effect of a mothers guilt with the same success as he handled the jealousy of OTHELLO or the infatuation of ANTONY or the PRIDE OF CORIOLANUS. He has failed to find out a suitable objective co-relative for the emotion of hamlet. Objective Co-relative states;
A SET OF A OBJECTS A SITUATION A CHAIN OF EVENTS WHICH SHALL BE THE FORMULA OF THAT PARTICULAR EMOTION SUCH THAT WHEN THE EXTERNAL FACTS WHICH MUST TERMINATE IN SENSORY EXPERIENCE ARE GIVEN THE EMOTION IS IMMEDIATELY EVOKED.

THE WORLD THE TEXT AND EDWARDSAID

For EDWARDSAID all texts are worldly that are involved in the particular historical situation. He persistently insists on the worldliness of the text that is related to the social-cultural and economic phenomena. He says STYLE NEUTRALIZES THE WORTHLESSNESS and makes the critical discourse as world less with an exclusive interest in textually and rejects the idea of NEW CRITICISM for him on contrary to new critics, a text is something historically and materially more than a critical occasion it is a social and political monument. SAID advocates for a self-conscious independent antithetical and Oppositional criticism that embrace worldly criticism. For more information visits.

Tips to study English Literature

●●Start early●●

Don’t wait to study until the night before a big exam! Particularly with a subject such as English literature, where you will probably be asked analytical questions as well as content questions, you must have time to familiarize yourself with some of the complexities of your material. Being able to summarize the plot or name some characters is unlikely to be all you’ll need to do.

●●Examine what you already know●●

Write out all the details you can remember from your first reading of the text, as well as anything you remember from your course lectures. Don’t “cheat” by looking at your notes or your text -- just write down what you are confident you remember. This will be your starting base and will reveal any gaps in your knowledge.

●●Consider whether there are literary terms you’re unfamiliar with●●

Many tests and exams in English literature want you to be familiar with some key terms, such as stanza, irony, alliteration, speaker, and figurative language. While you’re not likely to be expected to have comprehensive knowledge of literary terminology, understanding some of these key concepts will be important to your success. There are many guides available that can help you find definitions for important literary concepts, but here are a few crucial terms:
• A stanza is a poetic division of lines and is equivalent to the paragraph in prose writing. Usually, stanzas are at least three lines long; groups of two lines are usually called “couplets.”[1]
• Irony at its basic level says one thing but means another, which is almost always the opposite of what is actually said. For example, a character who meets someone in a raging blizzard might say “Lovely weather we’re having, isn’t it?” This is ironic because the reader can see that it is clearly not lovely weather. William Shakespeare, Jane Austen, and Charles Dickens are famous for their use of irony.[2]
Do not confuse irony with misfortune, which Alanis Morissette’s song “Ironic” is culpable of: “a black fly in your chardonnay” is definitely unfortunate, but it’s not ironic.
• Dramatic irony occurs when the reader or audience knows important information that a character does not, such as the fact that Oedipus killed his father and will marry his mother.[3]
• Alliteration is a technique used most often in poetry and plays; it is the repetition of the same initial consonants in multiple words within a short space. “Peter Piper picked a peck of pickled peppers” is an example of alliteration.
• A speaker usually refers to the person from whose point of view a poem is given, although it may also be used to refer to a novel’s narrator. Keeping the speaker separate from the author is important, especially in poetic dramatic monologues such as Robert Browning’s "My Last Duchess," in which a maniacal duke admits to having murdered his first wife. Obviously, it is the speaker, not Browning, who is saying these things.
• Figurative language is discussed in more length in Part 2 of this article, but it is the opposite of “literal” language. Figurative language uses techniques such as metaphor, simile, personification, and hyperbole to make a point more vividly. For example, in Shakespeare’s play Antony and Cleopatra,Cleopatra describes Mark Antony this way: “His legs bestride the ocean. His reared arm / Crested the world.” This is hyperbolic language: obviously Antony’s legs didn’t literally straddle the ocean, but it powerfully conveys Cleopatra’s high opinion of him and his power.

●●Look at sample questions, if you can●●

If you were given a study guide or sample. questions, see how much of this material you are already familiar with. This will help you zone in on what needs more work and make a study plan.

**~**LITERARY MOVEMENTS AND PERIODS**~**

Literature constantly evolves as new movements emerge to speak to the concerns of different groups of people and historical periods primarily starts in the theater and approaches to prolific literary activity below are some literary movement and their respective periods
• ELIZABETHAN ERA (1558-1603)
• METAPHYSICAL POETS (1633-1680)
• ENLIGHTENMENT (1660-1790)
• NEOCLASSICISM (1660-1798)
• GOTHIC FICTION (1764-1820)
• ROMANTICISM (1798-1832)
• AESTHETICISM (1835-1910)
• REALISM (1830-1900)
• ROMANTICISM (1798-1832)
• VICTORIAN ERA (1832-1901)
• MODERNISM (1890-1940)
• SURREALISM (1920-1930)
• RENAISSANCE (1918-1930)
• LOST GENERATION (1918-1930)
• ABSURD LITERATURE (1930-1970)
• ANGRY YOUNG MEN (1950-1980)
• BEAT GENERATION (1950-1960)
• BLOOMSBURY GROUP (1906-1930)
• DADAISM (1916-1922)
• POST COLONIAL LITERATURE (1950-PRESENT)
• POSTMODERNISM (1945-PRESENT)

"Quality is not an act,is it is a habit"

Aristotle

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