ADDRESS TO ALL THE CRIMINALS

What I am going to talk about right now will surely be helping Indian police. I am sure all of us are very proud of India. Its culture. Its piousness. Its unity in diversity. It is also referred to as a land of god. And not just one but many. I doubt if the population census of Gods in India takes place, it might outnumber the population of its citizens: p

Everyone has assigned themselves one God each. But some prefer to pray all others too. Dude this is complete lack of trust in the one God you chose. So forget that you will be protected by any one. With every coming festival there is a new murti in our house temples. If it is done to show respect and equality to all the Gods whether male or female, why do then the living human beings not given respect and equality despite their caste, colour, gender, ……   . It has been years since this debate of everyone is equal and brother and sister. But still when it comes to inter-caste marriage or girls being out at 6pm, the answer is always NO. kabadi vala’s even today are called with names such as – abee, oo, oyee, and many more. There identity is being completely denied. When a girl is out at night, she is asked – don’t you know you should not go out, it is not safe. The point is when you clearly know because of whom it is not safe outside, then why do not you restrict and work upon the ones who are creating the unsafe situations for girls. While praying Goddess Saraswati, kali and Druga; we give the responsibility of our protection in the hands of a female authority. Then why are the real living female population considered not capable to make decisions and protect themselves. Why is there so much concern of female protection, are males all shielded from every danger? Do men never fall or die? If you want to protect, then protect human kind.

For this concept of protection we have various ways out in Indian society. Rakshabandhan for the protection of sisters and karvachauth for the protection of husbands. In a way almost the entire population is covered. Those who do not have sisters do struggle hard and manage to find one (at times more than one as they are so deliberate to protect. Clearly the danger is high). And the ones who are not yet a husband to somebody, do happen to be somebody’s love interest and have them to pray for his long age. Whereas girls are still molested, raped, kidnapped. Men are still dying at a very early age.

So ladies and gentlemen the only point I wanted to make is that, clearly neither rakhi’s nor fast’s are working at all. Next time a girl feels unsafe outside or inside home, the person responsible is the brother. Not the one who will make her unsafe. Similarly when a death of a husband occurs, the cause should be the wife. Because it is her prayer which did not work.

Mein Bharat Ka Samvidhan Hun .....

The Romantic Age (1798-1824)

Like many other literary movements, it developed in reaction to the dominant style of the preceding period.

Imagination became the source of knowledge.

The romantic age is marked by three important historical events:

·         The American revolution (1775-1783)

·         The French revolution(1789-1799)

·         The Napoleonic war(1796-1815)

The beginning of romantic age is marked by the publication of “lyrical ballads” by words worth and Coleridge. It can be termed as one of the most fruitful period in English literature.

Romantics opposed classical school. They used simple and natural diction. Their work shifted from artificial town life to the life in the woods. It was the age of poetry.

All the poets of the time had different views on all the subjects unlike neo- classical poets.

Major poets of the time were: Wordsworth, Coleridge, Byron, Shelley and Keats.

“Poet is a creator like god. Objects are brought to life by poets” said- Coleridge

“Poetry is the expression of imagination” said- Shelley

Romantic poetry for present-day readers has become almost synonymous with “nature poetry.”  Romantic poems habitually endow the landscape with human life, passion, and expressiveness.  Wordsworth’s aim was to shatter the lethargy of custom to renew our sense of wonder in the everyday.  Coleridge, by contrast, achieved wonder by the frank violation of natural laws, impressing upon readers a sense of occult powers and unknown modes of being.  The pervasiveness of nature poetry in the period can be linked to the idealization of the natural scene as a site where the individual could find freedom from social laws.

It is also termed as the romantic revival, because all these characteristics- the liberty of the writer to choose the theme and form of his literary production, the importance give to imagination and human emotions, and a broad and catholic outlook on life in all its manifestations in towns, villages, mountains, rivers, etc. belonged to the literature of the Elizabethan age which can be called the first romantic age.

The poets of this age were classified into three groups:

1. The lake school- words worth, Coleridge, Southey

2. The scoot group- Cambell, Moore

3. Byron, Shelley, Keats

18th century Literature

18^th century is the longest period in English literature history. It has has number of events happening at that time.

Three major events took place in 18^th century:

1.       American revolution      

2.       French revolution

3.       Industrial revolution ( age of enlightenment)

Among all the three revolutions Industrial revolution holds the maximum importance in the characterisation of this century.  The Eighteenth Century in England is called by different names such as: the Classical Age or the Augustan Age in literature and also called the Age of Good Sense or the Age of Reason.

The Eighteenth Century is called the Classical Age in English literature on account of three reasons:

In the first place, the term ‘classic’, refers in general, applies to writers of the highest rank in any nation. This term was first applied to the works of the great Greek and Roman writers, like Homer and Virgil. As the writers of the eighteenth century in England tried to follow the simple and noble methods of the great ancient writers, they began to be called Classical writers.

 In the second place, in every national literature there is a period when a large number of writers produce works of great merit; such a period is often called the Classical Period or Age. For example, the reign of Augustus is called the Classical Age of Rome; and the Age of Dante is called the Classical Age of Italian literature. As during the eighteenth century in England there was an abundance of literary productions, the critics named it the Classical Age in English literature.

 In the third place, during this period the English writers rebelled against the exaggerated and fantastic style of writing prevalent during the Elizabethan and Puritan ages, and they demanded that poetry, drama and prose should follow exact rules. In this they were influenced by French writers, especially by Boileau and Rapin, who insisted on precise methods of writing poetry, and who professed to have discovered their rules in the classics of Horace and Aristotle.

As the term Classical Age is, therefore, too dignified for writers of the eighteenth century in England, who imitated only the outward trapping of the ancient classical writers, and could not get at their inner spirit, this age is preferably called the Augustan Age. This term was chosen by the writers of the eighteenth century themselves, who saw in Pope, Addison, Swift, Johnson and Burke the modern parallels to Horace, Virgil, Cicero, and other brilliant writers who made Roman literature famous during the reign of Emperor Augustus.

The eighteenth century is also called the Age of Reason or the Age of Good Sense, because the people thought that they could stand on their own legs and be guided in the conduct of their affairs by the light of their own reason unclouded by respect for Ancient precedent. They began to think that undue respect for authority of the Ancients was a great source of error, and therefore in every matter man should apply his own reason and common sense. Every man becomes his own philosopher. In 18th century not many people went to church.

In the previous ages which we have dealt with, it were the poetical works which were given prominence. Now, for the first time in the history of English literature, prose occupies the front position. As it was the age of social, political religious and literary controversies in which the prominent writers took an active part, and a large number of pamphlets, journals and magazines were brought out in order to cater to the growing need of the masses who had begun to read and take interest in these controversial matters, poetry was considered inadequate for such a task, and hence there was a rapid development of prose.

The two main characteristics of the Restoration period—Realism and Precision—were carried to further perfection during the eighteenth century. They are found in their excellent form in the poetry of Pope, who perfected the heroic couplet, and in the prose of Addison who developed it into a clear, precise and elegant form of expression.

 Another characteristic of this age was the development of satire as a form of literature, which resulted from the unfortunate union of politics with literature. The wings and the Tories—members of two important political parties which were constantly contending to control the government of the country—used and rewarded the writers for satirising their enemies and undermining their reputation. Moreover, as a satire is concerned mainly with finding fault with the opponents.

  Another important feature of this age was the origin and development of the novel. This new literary form, which gained great popularity in the succeeding ages, and which at present holds the prominent place, was fed and nourished by great masters like Defoe, Richardson, Fielding, Smollet and others who laid its secure foundations. The realism of the age and the development of an excellent prose style greatly helped in the evolution of the novel during the eighteenth century. Also first English dictionary by Samuel jhonsons came in 1755.

I Did Not Ask For It.

Knock knock.

It has been talked about day after day.

But this time I hope you actually hear.

Knock knock, it is about rape.

Since the days of nursery I am draped in fragile pink. The choice was never mien, but this is how it was meant to be.

Oooh pretty little girl keep your hands off the mud and those current carrying wires. Ooooh pretty little girl did you get hurt?

Yes I was hurt.

Why did you not think, if the pretty girl who was no more little, was hurt, when you ripped off her dress and thrust inside her without any rest.

You return, thinking it was your right.

The pink colour choice was never mien, then how can I expect you to ask me if I wanted to join.

The rapes have been happening, and the people have convinced themselves that it was she who asked for it.

Did her walk, her talk, her short skirt, her visible breast, her red lipstick, her open hair, her clothes layers, her curvy waist ask for being raped?

Oooooh pretty girl. You in full sleeves clothes, hair in braid and flat chest have also been raped.

Destiny of Draupadi

Draupadi – the princess of panchala, the uninvited child, did not have the conventional upbringing. Though everybody in the palace including her father and Dhai Ma tried their best to teach her the tasks, a girl is expected to be efficient in. Her brother, Dhri was a constant support to her. Dhri talked to her about the matters, others would never have. Soon the time arrived when Draupadi was to be married. Unlike other girls she was given the chance to select her better half, in the swayamvar being organised by her father. The final decision was though left to the fate, as only few could complete the task at the swayamvar.

Draupadi from the time of her birth was being prepared for the situations which were to come in her life ahead. While she was being acquainted with the kings, who were to come to her swayamvar; she was hoplessely attracted to the portrait of karna (the king of Anga, the chariot son). Seeing such desires in the eyes of Draupadi for karna, infuriated Krishna. Draupadi says:

                                            “ Heat rose to my face. Did Krishna want to be one of my suitors? I’d never thought of that possibility. All these years he’d been to me as the air I breathed—indispensable and unconsidered. But today I sensed that there was more to him than the jesting self he’d chosen, until now, to reveal to me. This new Krishna, his eyes stern with anger, his voice like an arrow—I was certain he could pass the swayamvar test if he wished it.

How would it be to have him as my husband? An uneasiness rose in me as I turned the thought around in my mind. I loved him— but not in that way.”

Later she was shown the portraits of pandva brothers. Draupadi had no say in the decisions of her life. It was all destined. Moreover everybody around made sure that her decisions move her towards her predefined destiny. Draupadi says:

          How I longed to speak to Dhai Ma of that other, forbidden name: Karna.

Draupadi’s eyes always searched for karna, even after marrying to the five pandvas. She left no opportunity to have a look at him. Though such feelings were never reciprocated by karna. Draupadi favoured Arjun the most among five pandavs but carried more affection for Karna. Though this affection for Karna was never made public. We could say that the destiny presented her Arjun but her choice would have been Karna, if she was given a chance to decide.

Resourse: the pallace of illusion by Chitra Lekha and Banerjee Divakaruni

The Restoration Period (1660-1700)

·         In 1660, when Charles II came to the throne, there was complete repudiation of the puritan ideals and the way of living. In English literature the period from 1660 to 1700 is called the period of restoration, because monarchy was restored in England, and Charles II, the son of Charles I who had been defeated and beheaded, came back to England from his exile in France and became the king.

·         All restraints and discipline were thrown to the winds, and a wave of licentiousness and frivolity swept the country. Charles II and his followers who had enjoyed a gay life in France during their exile, did their best to introduce that type of foppery and looseness in England also. Instead of having Shakespeare and the Elizabethans as their models, and the poets and dramatists of the restoration period began to imitate French writers and especially their vices.

·         No major work was produced. But then was introduced realism and a tendency to preciseness.

·         In the beginning realism took an ugly shape, because the writers painted the real pictures of the corrupt society and court. They were more concerned with the vices rather that with the virtues. The result was a coarse and inferior type of literature. Later this tendency to realism became more wholesome, and the writers tried to portray realistically human life as they found it- it is good as well as bad side, it internal as well as external shape.

·         The restoration writers, under the influence of French writers gave emphasis to reasoning rather than romantic fancy, and evolved and exact precise way of writing, consisting of short, clear-cut sentences without any unnecessary word.

·         The royal society also known as Royal Society of London for Improving Natural Knowledge. It was set up in 1660 in Britain. The group was basically formed for scientific studies. Scholars like Einstein and Newton and were part of this group.

·         Comedy of manners. This genre of comedy flourished in restoration period in England. It is a play, novel, or film that gives a satirical portrayal of behaviour in a particular social group. The writers use satiric tone and witty dialogues, to show baselessness of a particular class or society (generally used for upper-class).

·         In tragedy, the restoration period specialised in heroic tragedy, which dealt with themes of epic magnitude. The heroes and heroines possessed superhuman qualities. The purpose of this tragedy was didactic- to inculcate virtues in the shape of bravery and conjugal love. It was written in the ‘heroic couplet’ in accordance with the heroic convention derived from France that ‘ heroic metre’ should be used in such plays.in it declamation took the place of natural dialogue. Moreover, it was characterised by bombast on the observations of life, there was no realistic characterisation, and it inevitably ended happily and virtue was always rewarded.