Saturday 24 October 2015

Defoe as a Novelist

      Name                : Maru JANAKKUMAR Jethalal
        Paper                : 2 [The Neo Classical Literature]
        Semester           : 1
        Roll no              : 26
        Topic                 : Contribution Defoe as a Novelist  
        Email id            : marujanak17@gmail.com
        Submitted to    :MK Bhavnagar University
                                      Bhavnagar

                                                      Daniel Defoe
                                             
                       
                         Born               : Daniel Defoe
                                                   1659-1660
                                                   London, England.
                         Died               : 24, April 1731 (Aged 70-72)
                                                   London, England.
                        Occupation    : Writing, journalist,
                                                  Merchant.
                        Genre              : Adventure

“Those people cannot enjoy comfortably what god has given them because they see and covet what he has not given them. All of our discontents for what we want appear to me to spring from want of thankfulness or what we have”.
                                                                                                                             -Daniel Defoe


v  Introduction :

Ø Daniel Defoe was an English trader, writer, journalist, pamphleteer his novel for Robinson Crusoe. Defoe is notable for being one of the earliest proponents of the novel as he helped to popularize the form in Britain and with others such as Samuel Richardson and thus is among the founders of the English novel. He was a prolific and versatile writer producing more than five hundred books, pamphlets and journals on various topics including politics, crime religion, marriage psychology and the supernatural. He was also a pioneer of economic journalism.

v HER MAJOR WORKS IN FICTION :

1)  Robinson Crusoe  (1719)
2) Moll Flanders         (1722)
3) A journal of the plague year (1722)
4) Roxana                     (1724)

vHE WAS ACCLAIMED WRITER :

§ Defoe published his first literary piece a political pamphlet in 1683. He also instead in political and he continued to write political works, working as a journalist, until the early 1700s. Her other works during this period targeted support from King William!!!  also known as “William Henry of Orange .” some of his most popular works inclith the true born Englishman which shed light on racial prejudice in England following attacks on William for being a foreigner. And the Alternate that was published from 1704 to 1773 during the Reign of Queen Anne king William!!’S successor. Political adversary of Defoe’s constantly had him continent for his writing 1713 Defoe took a new literary part in 1719 around the age 19 when he published Robinson Crusoe a fiction novel based on several for short essay that he had composed over the years. a handful of novels after often with rogues and criminal’s as lead character including –
Ø Moll Flanders
Ø Colouel Jack
Ø  Captain singletor
Ø  Jounal of the plague years and his major piece, Roxana (1724)

v SOME OF HIS LATTER WORKS :

·       Everybody’s business is nobody’s business (1725)
·       The nonfiction essay “conjugal lewdness; or,
·       Matrimonial whoredom  (1727)
·       A follow –up piece to the “conjugal lewdness” essay entitle “a treatise Concerning the use and abuse of the marriage bed.

v DEFOE’S IMPORTANCE IN LITERARY HISTORY
Ø Though Defoe’s contribution to the novel was sometimes down played in the 18th and 19th centuries, 20th century literary historians and critics came to recognize Defoe as one of the most important founding fathers the modern novel.

Defoe’s most important contributions to the        development of fiction include especially:

Ø Realistic detail in external, physical description and attention to realism in presentation. None of Defoe’s fiction bore his name on the title all his “novels” were presented to and sometimes received by the publish as real life Autobiographies of the main characters.
Ø Plain, non literary prose considered eminently readable in his time.
Ø The writer’s effective projection of himself with vivid convincing imagination into the various Protagonists who narrate their respective fictional “Autobiographies.”

v CHARACTERISTICS OF THE FICTION :

Ø Evidently written in last the flaws and inconsistencies are often noted as ostensibly realistic weakness in the writing style of his fictional “autobiographer.”
Ø Pointedly intended as moralistic propaganda there is some debate whether his moral Preaching’s were heart left, or whether Defoe made his works blatantly “instructional” so they would be socially acceptable in an era when fiction was considered immoral. Defoe was a devout puritan, but he was also a crafty businessman most of Defoe’s fiction travel narratives such as Robinson Crusoe’s and “criminal confessions” such as Moll Flanders’s were much in vogue in the early 18th century. The earnestness of his nonfiction moral writings may suggest that Defoe’s moral intent in the fiction was also in earnest.
Ø Usually episodic Defoe’s “Autobiographies” often lack the narrative coherence we expect in modern novels. He offers series of adventures episodes that are unified more by their common subject the life story of the main character than by apparently conscious artistic design. Typically episodes of narrative are punctuated with passages of moral or practical instruction.
Ø Some see Defoe’s protagonists as psychologically thin usually the reader learns more about actions and circumstantial predicaments than internal feelings and reactions.

v A FEW THEMES, MOTIFS AND FEATURES TO CONSIDER AS YOU READ MOLL FLANDERS :

Ø Different types and aspects of realism from the title page to detailed description, to the fascinating underbelly of a rising criminal class.
Ø Defoe’s purpose: moral &sensational.
Ø Moll’s motivation: fear of poverty & desire for adventure and the good life.
Ø The importance of money, a new middle class concern.
Ø  Moll as survivor do we admire her?
Ø Isolation and “economic individualism.”
Ø Moll’s femininity and masculinity.


v OTHER ARTICLES ON DANIEL DEFOE :

Ø Works of Daniel Defoe : life and career of Daniel Defoe
Ø the books of Daniel
Ø works of Daniel Defoe : critical commentary
Ø Arguments to the self in Defoe’s Roxana.
Ø An essay on the history and reality of apparitions stoke Newington Daniel Defoe edition.
Ø The life of Daniel Defoe.
Ø  Works of Daniel Defoe : introduction
Ø A sermon by the “queen of whores”. (Daniel Defoe’s Roxana).
Ø Dating the devil: Daniel Defoe’s Roxana and political history of the devil.
Ø “Modern Panchgyrick” and Defoe’s “dunciad”.


v DENIEL DEFOE AS A NOVEL WRITER :

Ø Daniel Defoe’s was an obscure and polemic man who lived seven reigns and a Court less number of political and social changes of that turbulent period, Daniel Defoe gave a clear evidence of a transformation, the flourish of the English spirit in literature. He also took a great interest in partisan politics and was a prolific spokesman for the views and interest of the emerging middle class.
Ø James Joyce stated in an essay the backgrounds that outstands the importance of Daniel Defoe’s work in Chaucer prevailed the Norman priests and foreign heroes. Milton tried a puritan version of the divine comedy; the theatre of the monarch restoration followed the Spanish patterns Shakespeare’s work is filled with characters from overseas. It was Daniel Defoe the first writer who did not follow or adapt foreign works, his pen introduced the national spirit, so it is fair to say that he is the father of the English novel.
Ø More than two hundred and twenty works are attributed to Daniel Defoe. He expressed his opinion on every subject he was interested in. in the journalist field, his contribution is of great relevance. From 1704 to 1713, Daniel Defoe directed the review, the prototype of the later well-known newspapers. Defoe was the only journalist to write the whole the review and many times had to do it from jail.
Ø The art of the essay owes Defoe many efficient comments on diverse theme, but his contribution to the novel is more important. Defoe was a pioneer introducing in literature the character of the heartless thief, the orphan child and the brutal but sensitive prostitute. Defoe had a singular skill to inspire his works in low class people he judged the stories only by its intrinsic importance without observing the social environment they come from. Famous writers like James Joyce, foster, Nathaniel Hawthorne and Herman Melville verity the notable influence reached by Defoe’s fiction novels.    
vconclusion:
          He wrote more than, pamphlets and journals on various topic. He was also the pioneer of economic journalism. Another novel is captain singleton, and His famous novel is Robinson Crusoe. The importance of Robinson Crusoe to English literature is that it is considered to be one of the novel as a genre the others being Defoe’s “Moll Flanders,” and “Roxana” and a number of other fictions written by writers.    
                                    













 



Name             : Maru Janakkumar J
Paper             : 4[Indian Writing in English                                                                                          pre-independence
Semester       : 1
Roll No           : 26
Topic               : In kanthapura Raja Rao tries       to define nation
Email id          : marujanak17@gmail.com
Submitted to : MK Bhavnagar University,
 Bhavnagar





*                    Kanthapura- Raja Rao
v Introduction :


        Raja Rao was born on November 8, 1908 in Hassan, in the state of mysorein south India, into a well-known Brahman family. His native language was kanaresa, but his post-graduation study was in France, and all his publications in book form were in English. He lived in France from 1908n to 1939, and returned to India in 1940, after the Second World War. Kanthapura was his first novel in English. his other novels are “ the cow of the barricades, great Indian way: A life  of mahatma Gandhi, A passage to India, the serpent and the rope, cat and Shakespeare, the chess master and his moves.”

vHer work:
·       Teacher
Ø Raja Rao taught philosophy at The University of Texas at Austin from 1966 through 1980, when he retired as Professor Emeritus of Philosophy.

Ø "...it is as teacher that I know Raja Rao best... Raja Rao began his formal affiliation with the University [of Texas] as a member of the Faculty of Philosophy in 1966. ... He was a campus icon, acclaimed for his lectures on Buddhism and Eastern thought. “Teacher is perhaps the first word that comes to mind when one thinks of raja rao. ‘novelist’ yes, ‘philosophical novelist’ even better, and though ‘scholarly sanskritist’ (salman rushdie’s peculiar description in the New Yorker) is not right, it is not altogether wrong either.”
·      Writer
Ø Raja Rao is a writer who insists with honesty and fervor that he is not the creator of his works.
Ø "I write. I cannot not write. Yet he who writes does not know that which writes. So, does one write? If so who? Which?
Ø Why write? Two birds, says the Ramayana (our oldest epic) were making love, when a hunter killed the male bird. The cry of the widowed bird, says the text, created the rhythm of the poem. ...
Ø Why publish? Those others may hear the cry of the bird hunted and killed whose mate is lost in sorrow. Uncovering the vocables is a poetic exercise. The precise word arises of love that is pure intelligence. That is why in Sanskrit the word Kavi means the poet--and the sage." --Raja Rao

vRaja Rao’s define four type of-
1) History
2) colony
3) nationalism
4) nation
vRaja Rao’s views of nation:
The beginning of the 1930s mark an important benchmark as far as Indian Nationalism is concerned because Indian National Congress ,under the stewardship of Gandhi, emerged as a true ,national ,pan-Indian body, encompassing in its fold all the  cross-sections of the society that  were hitherto denied an entry into the mainstream politics. The Indian National Congress had forged to a considerable extent, a sense of Indianness across the vast stretch of the land, unifying and preparing the people to accept the transition from regional to national in their approach and attitude. This resulted in the emergence of national imaginings of identity. Thus it became a period that witnessed a national urgency to foreground the idea of a unified nation as it was at the core of the decolonization project India had taken up. And incidentally, Indian English novel too emerged as a major voice to reckon with during the same time. As Meenakshi Mukhrjee notes, it was not a coincidence that Indian English fiction emerged in India in the 1930s, the decade prior to independence, when there was an urgency to foreground the idea of a composite nation.
vRaja Rao is a Nationalist novelist:
Ø Returning to India in 1939, he edited with Iqbal Singh, Changing India, an anthology of modern Indian thought from Ram Mohan Roy to Jawaharlal Nehru. He participated in the Quit India Movement of 1942. In 1943–1944 he co-edited with Ahmed Ali a journal from Bombay called tomorrow. He was the prime mover in the formation of a cultural organisation, Sri Vidya Samiti, devoted to reviving the values of ancient Indian civilisation; this organisation failed shortly after inception. In Bombay, he was also associated with Chetana, a cultural society for the propagation of Indian thought and values.
Ø  Rao's involvement in the nationalist movement is reflected in his first two books. The novel Kanthapura (1938) was an account of the impact of Gandhi's teaching on non-violent resistance against the British. The story is seen from the perspective of a small Mysore village in South India. Rao borrows the style and structure from Indian vernacular tales and folk-epic. Rao returned to the theme of Gandhism in the short story collection The Cow of the Barricades (1947). In 1998 he published Gandhi's biography Great Indian Way: A Life of Mahatma Gandhi. In 1988 he received the prestigious International Neustadt Prize for Literature. The Serpent and the Rope was written after a long silence during which Rao returned to India. The work dramatised the relationships between Indian and Western culture. The serpent in the title refers to illusion and the rope to reality.[2] Cat and Shakespeare (1965) was a metaphysical comedy that answered philosophical questions posed in the earlier novels.
vFiction: Novels
Ø Kanthapura (1938) The Serpent and the Rope (1960) The Cat and Shakespeare: A Tale of India(1965)Comrade Kirillov (1976) The Chessmaster and His Moves (1988)
vFiction: Short story collections
Ø The Cow of the Barricades(1947) 
Ø The Policeman and the Rose (1978) 
Ø The True Story of Kanakapala, Protector of Gold
Ø In Khandesh 
Ø Companions 
Ø The Cow of the Barricades
Ø  Akkayya 
Ø The Little Gram Shop 
Ø Javni Nimka
Ø  India—A Fable
Ø  The Policeman and the Rose
Ø  On the Ganga Ghat (1989).
vconclusion:

Raja Rao describes very well totally Indian backbround with all aspects in the novel kanthapura . through using all these raj rao makes one identity of india. “One nation, one identity.” 
Name    : maru Janakkumar J
Paper    :3[LiteraryTheory&Criticism]
Semester  : 1
Roll No   : 26
Topic    : Dryden Essay
Email id  : marujanak17@gmail.com
Submitted:MK Bhavnagar University,                       Bhavnagar






v      Essay on Dryden:


v   Born      : 9 August 1631
 Aldwincle, Thrapston,                      Northamptonshire, England
v      Died               : 1 May 1700 (aged 68),
                 London, England
v                  Occupation : poet, literary critic, playwright,               librettist
                 Alma mater    Westminster School
                 Trinity College, Cambridge
v                     Notable works :Absalom and Achitophel, Mac       Flecknoe


John Dryden was one of the most shining stars of the Restoration Age, thats why this age is also known as the age of Dryden. He was the great critic. So, Dr.Samuel Johnson quotes as...

The Father of English Criticism, who first taught us to
Determine upon principles the merits of composition

v      Gist of essay:
        
Dryden is a neoclassic critic, and as such he deals in his criticism with issues of form and morality in drama. However, he is not a rule bound critic, tied down to the classical unities or to notions of what constitutes a "proper" character for the stage. He relies heavily on a pragmatic tradition.
Ø Dryden wrote this essay as a dramatic dialogue with four characters representing four critical positions. These four critical positions deal with five issues.
Ø Eugenius (whose name may mean "well born") favors the moderns over the ancients, arguing that the moderns exceed the ancients because of having learned and profited from their example.
Ø Crites argues in favor of the ancients: they established the unities; dramatic rules were spelled out by Aristotle which the current--and esteemed--French playwrights follow; and Ben Jonson--the greatest English playwright, according to Crites--followed the ancients' example by adhering to the unities.
Ø Lisideius argues that French drama is superior to English drama, basing this opinion of the French writer's close adherence to the classical separation of comedy and tragedy. For Lisideius "no theater in the world has anything so absurd as the English tragicomedy . . . in two hours and a half, we run through all the fits of Bedlam."
vHis Creative Works:
Ø Preface to the Fables
Ø Preface to the Indian Emperor
Ø The Wild Gallant
Ø An Essay on Dramatic Poesy
Ø All for Love
Ø Absalom and Achitophel
Ø Macflecknoe.

vAn Essay on Dramatic Poesy: Introduction

Ø Dryden developed a very ingenious plan of writing his essay. In 1665 great plague broke out in London. In order to escape from the infection of the plague, many people left London. So, Dryden takes this situation and develops a plan to write a great treatise on drama. He imagines the he and his friend’s sails out of London in a boat on the river of Thames. So, to avoid boredom the journey, they decide to hold some useful discourse on the theory of drama in different ages in Greece, Rome, France and of England. They decide to allot one age to each of the four friends.

Each taking up the defense of dramatic Literature of one country or one age. Crites speaks for the Greek and the Roman dramatists and their principles. Lisideius expresses his view that the French drama is superior to the English drama. So, he favors French dramatists. Eugenius claims that the English Drama of the last age in England is better than the Ancient Dramatists. Neander (For Dryden himself) pleads for England and Liberty. So, Dryden holds that ancient principle should be respected, but should not be followed blindly.

v Dryden’s definition of drama

Ø Here, Dryden expresses his views on Drama that what a play should be; therefore, he defines drama as

Just and Lively Image of human nature,
Representing its passions and humors,
And the changes of fortunes to which it
Is subject, for the delight and instruction of mankind.

Therefore, Dryden and his friends talk about what a play should be, further, Lisideius conveys his view about Drama as a just lively image of Human nature .after this discussion, they start to give their views and discuss the advantages and disadvantages of French and English Drama. At last the debate goes on about the comparison between Ancient and Modern writers.

v Violation of the three unities

Ø As far as the unities of the time, place and action are concerned. This group further discusses the playwrights like Ben Jonson, Moliere and Shakespeare with a deeper insight. John Dryden himself.
v Also defenses English tragic-Comedy:
Ø He comments that the French plays may be more regular but they are not as lively as that of English. For example in William Shakespeares Plays the more lively and just images of life can also be observed. Therefore, Dryden here condemns French Plays s lack of just and lively image.   
v Eugenius’s arguments on the superiority of the Moderns over the Ancients:      
Ø Eugenius defends the English dramatists of the last age with a highly penetrating insight. It is true, he says that the Ancients Greek and Roman scholars laid down many basic principles of Drama. The English authors gave due respect to them, but they had no clear-cut concept of dividing a Play into Acts. The Dramatist set the voyage of dividing a play into five acts. Most of the Ancient Greek Playwrights wrote their plays on highly popular episodes of Thebes or troy on which many narrative poems, epics and plays had already been written. Therefore, the spectators found nothing new in them. Many times they spoke out the dialogues before the actors spoke them. The English dramatist wrote their plays on new themes. In comedies, the Greek and roman playwrights repeated common theme of lost children coming back to their home after gap of many years. The English dramatist invented new and interesting theme. In all these respects the English dramatist of the last age were better than the Greek or roman dramatists.  
vLisideius’s view in favour of the Superiority of the French Drama over the English Drama

    Lisideius speaks in favour of the French. He agrees with Eugenius that in the last generation the English drama was superior. The French do not burden the play with a fat plot. They represent a story which will be one complete action, and everything which is unnecessary is carefully excluded. But the English burden their plays with actions and incidents which have no logical and natural connection with the main action so much so that English play is a mere compilation. Hence the French plays are better written than the English ones. Based on the definition of the play, Neander suggests that English playwrights are best at "the lively imitation of nature" Further; he suggests that English plays are more entertaining and instructive because they offer an element of surprise that the Ancients and the French do not.

v Mixture of Tragedy and Comedy:
Dryden is more considerate in his attitude towards the mingling of the tragic and the comic elements and emotions in the plays. Mirth does not destroy compassion and thus the serious effect which tragedy aims at is not disturbed by mingling of tragic and comic. Just as the eye can pass from an unpleasant object to a pleasant one, so also the soul can move from the tragic to the comic. And it can do so much more swiftly.

v Rhymed Verse versus Blank Verse Controversy:

    Crites’s attack on Rhyme occurs towards the end of the Essay, Rhyme is unnatural in a play, for a play is in dialogues, and no man without premeditation speaks in rhyme. Drama is a ‘just’ representation of Nature, and rhyme is unnatural, for nobody in Nature expresses himself in rhyme. It is artificial and the art is too apparent, while true art consists in hiding art. Tragedy is a serious play representing nature exalted to its highest pitch; rhyme being the noblest kind of verse is suited to it, and not to comedy.

vConclusion:
In short, John Drydens Of Dramatic Poesie (also known as An Essay of Dramatic Poesy) is an exposition of several of the major critical positions of the time, set out in a semidramatic form that gives life to the abstract theories. Of Dramatic Poesie not only offers a capsule summary of the status of literary criticism in the late seventeenth century; it also provides a succinct view of the tastes of cultured men and women of the period. Dryden synthesizes the best of both English and Continental (particularly French) criticism; hence, the essay is a single source for understanding neoclassical attitudes toward dramatic art. John Dryden in his essay, An Essay on Dramatic Poesy, gives an account of the Neo-classical theory and discusses all the topics in the essay.