MY PRESENTATIONS - SEMESTER 1 - BATCH:2015-2017

1.) PAPER NO.1 - THE RENAISSANCE LITERATURE
     TITLE:- "Comparative study of 'Hamlet' by William Shakespeare and movie 'Haider' by Vishal Bharadwaj."

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Comparative study of Hamlet by william shakespeare and Haider by Vishal Bhardwaj from vaidehi Hariyani
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2.) PAPER NO.2 - THE NEO-CLASSICAL LITERATURE
     TITLE:- "Comparative study of 'Animal Farm' by George Orwell and 'Gulliver's Travels' by Jonathan Swift."
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Comparative study of Animal Farm and Gulliver's travels from vaidehi Hariyani
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3.) PAPER NO.3 - LITERARY CRITICISM AND WESTERN-1
     TITLE:- "Catharsis in different forms of Art."
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Catharsis in different forms of Art. from vaidehi Hariyani
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4.) PAPER NO.4 - INDIAN WRITING IN ENGLISH
      TITLE:- "Class Conflict in 'The Purpose' by T.P.Kailasam."

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Class Conflict in 'The Purpose' by T.P.Kailasam from vaidehi Hariyani

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ASSIGNMENT 4:- RAJA RAM MOHAN ROY AND HIS CONTRIBUTION IN INDIA

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NAME: - HARIYANI VAIDEHI CHETANKUMAR

COURSE: - M.A ENGLISH

SEMESTER: - 1

BATCH: -   2015-2017

ENROLMENT NO: - PG15101022

SUBMITTED TO: -     SMT.S.B.GARDI

       DEPARTMENT OF ENGLISH MKBU

EMAIL ID: -   vaidehi09hariyani@gmail.com

PAPER NO: - 4

       INDIAN WRITING IN ENGLISH {PRE-INDEPENDENCE}

TOPIC: - RAJA RAM MOHAN ROY AND HIS

              CONTRIBUTION IN INDIA

 RAJA RAM MOHAN ROY AND HIS CONTRIBUTION

INTRODUCTION:-

Raja Ram Mohan Roy is an extraordinary demonstrable figure who put excellent actions to change India and set out change the general public and attempted to inspire the status of ladies in India. Roy battled against Sati system. He was moreover an incredible researcher who translated numerous books, religious and philosophical work and sacred texts into Bengali furthermore made an interpretation of Vedic sacred writings into English.

Raja Ram Mohan Roy was an Indian socio-instructive reformer who was otherwise called 'Creator of Cutting edge India' and 'Father of Current India' and 'Father of the Bengal Renaissance.'

EARLY LIFE:-

Raja Ram Mohan Roy was conceived on May 22, 1772 around the local area Radhanagar in the Region of Hooghly in Bengal. His father Ramkanto Roy was a Vaishnavite, while his mother, Tarini, was from a Shakta establishment. Raja Ram Mohan Roy was sent to Patna for higher studies. By the age of fifteen, Raja Ram Mohan Roy had learnt Bangla, Persian, Arabic and Sanskrit.

Raja Ram Mohan Roy was against picture love and standard Hindu services. He stood solidly against all sort of social enthusiasm, devotion and superstitions. Regardless, his father was a standard Hindu Brahmin. This incited differences between Raja Ram Mohan Roy and his father. Taking after differences he went away. He roamed around Himalayas and went to Tibet. He voyaged for the most part before returning home.

After his entry Raja Ram Mohan Roy's family hitched him with the desire that he would change. In any case, this did not have any effect on him. Raja Ram Mohan Roy went to Varanasi and considered the Vedas, the Upanishads and Hindu thinking significantly. Right when his father kicked the pail in 1803 he returned to Murshidabad. He then filled in as a moneylender in Calcutta, and from 1809 to 1814, he served in the Wage Branch of the East India Association.

The commitment of Raja Ram Mohan Roy was multi-dimensional. He was an energetic supporter of instructive changes which underscored western social and physical sciences with English dialect as the medium of guideline. In social matters he denounced the rank's rigidities framework.

In political issues he was a pioneer of news-casting, uncompromising votary of opportunity of press furthermore the initiator of open disturbance on political inquiries for the nation. He was a firm believer to internationalism. The motivating scholarly interest and affectability of Raja Ram Mohan Roy brought about the arrangement of Atmiya Sabha in 1815, which got to be Brahmo Samaj under the leader­ship of Dwarakanath Tagore.

HIS VISIONS AND FAITH:-

"Raja Ram Mohan Roy was the envoy of new age", "morning star of Indian Renaissance". Every one of these designations establish the unique spot involved by Raja Ram Mohan Roy in the Indian social history as he stands in the bleeding edge of track towards improving the Hindu society.

In spite of the fact that Ram Mohan Roy was a man of adaptable genius, the administering energy of his life was religious change. During a period when the Bengal youth, under the influ­ence of Western learning, was floating towards Christianity, Ram Mohan Roy ended up being the champion of Hinduism.

He likewise tried to cleanse Hinduism of the misuse that had crawled into it. At 15 years old he examined heathen worship and upheld his perspective by quota­tions from the Vedas. He reinterpreted Hindu teachings and discovered adequate otherworldly premise for his humanity in the Upanishads. He began a battle for the abolition of Sati, criticized polygamy, criticized casteism, and pushed the privilege of Hindu widows to remarry.   

He dismisses Christianity, precluded the godliness from securing Jesus Christ, and however acknowledged the humanism of Europe. He tried to impact a social combination between the East and the West. He is supposed as the forerunner of advanced India and an awesome path­finder of his times as he characterized the new soul of question, hunger for learning, wide

humanity all to be accomplished in the Indian setting.

HIS CONTRIBUTION:-

His Bengali week by week Sambad Kaumudi, set up in 1821, started to talk about political matters other than religious and good issues. His Persian week by week Mirat-ul-Akhbar talked about national and worldwide issues. He additionally motivated the intellectual elite to restrict the imperious measures of English government like the Jury Demonstration. In light of his exercises and scholarly commitment to Indian culture, he was seen as a morning star of Indian renaissance. He also established two English schools and advocated the Western education.

Ram Mohan Roy never expected to build up another religion. He just needed to cleanse Hinduism of the false practices that had crawled into it. From the earliest starting point, the advance of the Brahmo Samaj stayed restricted to the intellec­tuals and instructively edified Bengalis living in the towns. The universal Hindus drove by Raja Radhakant Deb composed the Dharma Sabha with the object of countering the publicity of the Brahmo Samaj.

 BRAHMO SAMAJ:-

Brahmo Samaj is the societal component of Brahmoism, a monotheistic reformist and renaissance movement of Hindu religion. It is practised today mainly as the Adi Dharm after its eclipse in Bengal consequent to the exit of the Tattwabodini Sabha from its ranks in 1859. After the publication of Hemendranath Tagore's Brahmo Anusthan (code of practice) in 1860 which formally divorced Brahmoism from Hinduism, the first Brahmo Samaj was founded in 1861 at Lahore by Pandit Nobin Chandra Roy.

It was one of the most influential religious movements responsible for the making of modern India.

 It was started at Calcutta on 20 August 1828 by Raja Ram Mohan Roy and Debendranath Tagore as reformation of the prevailing Brahmanism of the time (specifically Kulin practices) and began the Bengal Renaissance of the 19th century pioneering all religious, social and educational advance of the Hindu community in the 19th century. Its Trust Deed was made in 1830 formalising its inception and it was duly and publicly inaugurated in January 1830 by the consecration of the first house of prayer, now known as the Adi Brahmo Samaj. From the Brahmo Samaj springs Brahmoism, the most recent of legally recognised religions in India and Bangladesh, reflecting its foundation on reformed spiritual Hinduism with vital elements of Judeo-Islamic faith and practice.

Meaning of name The Brahmo Samaj literally denotes community of men who worship Brahman the highest reality. In reality Brahmo Samaj does not discriminate between caste, creed or religion and is an assembly of all sorts and descriptions of people without distinction, meeting publicly for the sober, orderly, religious and devout adoration of "the unsearchable Eternal, Absolute Being who is the Author and Protector of the Universe."

RAJA RAM MOHAN ROY AND HINDU COLLEGE:-

Presidency University, Kolkata, formerly Hindu College and Presidency College, is a unitary, state aided university, located in Kolkata, West Bengal and one of the premier institutes of learning of liberal arts and sciences in India. In 2002 it was ranked number one by the weekly news magazine India Today. In 2010, the year the college was upgraded to university status, it was ranked 3rd in India.

It was established in 1817, making it one of the oldest educational institutions in India. It was founded by Raja Ram Mohan Roy, and a number of other eminent personalities of Bengal, such as Raja Radhakanta Deb, Maharaja Tejchandra Ray of Burdwan, David Hare, Justice Sir Edward Hyde East, Prasanna Coomar Tagore and Babu Buddinath Mukherjee.

DEATH:-

In November 1830 Ram Mohan Roy travelled to the United Kingdom as an ambassador of the Mughal emperor to plead for his pension and allowances. Raja Ram Mohan Roy passed away on September 27, 1833 at Stapleton near Bristol due to meningitis.

However, ten days after arriving in Bristol he fell ill with meningitis, and died on 27 September 1833. He was initially buried in the grounds of Beech House, but ten years later his friend Dwarakanath Tagore had him reinterred at Arno's Vale. A chattri (funerary monument or mandir (shrine) was designed by William Prinsep and built with sponsorship from Dwarakanath Tagore.  In 1997 a statue of Raja Ram Mohan Roy was built at Bristol.

CONCLUSION:-

For his unparalleled commitment he has been depicted as the father of Indian Patriotism. Raja Ram Mohan Roy was the Father of Renaissance in Bengal as well as India. His thinking and scientific knowledge take him ahead of that time. His reform movement both in Social and Education system build a compact structure for Modern Bengal and as well as Modern India. His place as the first builder of a new India is beautifully described by Miss Sophia Colet in the following words:-

"Ram Mohan Roy stands in history as the living bridge over which India marches from her unmeasured past to her incalculable future.

He was the arch which spanned the gulf that yawned between ancient caste and modern, humanity, between superstition and science, between despotism and democracy, between immobile custom and a conservative progress, between polytheism and theism.

He was the mediator of his people harmonizing in his own person, often by means of his solitary sufferings, the conflicting tendencies of imperial tradition and an inevitable enlightenment".

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DIFFERENCE BETWEEN WILLIAM WORDSWORTH AND S.T.COLERIDGE'S VIEW ON POETRY

DIFFERENCE BETWEEN WILLIAM WORDSWORTH AND SAMUEL TAYLOR COLERIDGE’S VIEW ON POETRY.                            

Introduction:-

Coleridge and Wordsworth collaboratively published 'Lyrical Ballads' in 1798, marking the rise of the British Romantic movement. According to Coleridge, in their collective plans it was agreed Coleridge would compose a series of lyrical poems exploring the Romantic and supernatural, and seeking there to earn a readers’ “poetic faith,” while Wordsworth decided to use the nature and the everyday as his subject in poems. Pairing these two approaches, the poets expected, to bring into coordination of “the two cardinal points of poetry, the power of exciting the sympathy of the reader by a faithful adherence to the truth of nature, and the power of giving the interest of novelty by the modifying colours of imagination.”

Coleridge contributed his well-known poem, 'Rime of the Ancient Mariner', while Wordsworth ultimately composed the bulk of the collection. After the publication of Lyrical Ballads, the twosome traveled throughout Europe. Afterwards, Coleridge lectured and traveled extensively, and, while battling an opium addiction, moved in with physician James Gillman in 1816. The following year 'Biographia Literaria', a fusion of autobiography, literary criticism, and religious and philosophical theory, was published.

 William Wordsworth’s view about poetry:-

                          In the preface to the Lyrical Ballads, Wordsworth defines poetry

"Poetry is the spontaneous overflow of powerful feelings; it takes its origin from emotion recollected in tranquility."

                               The "spontaneous overflow of powerful feelings” and "emotion recollected in tranquility" are two opposite statements. "Spontaneous overflow" must be instant.  The expression "recollected in tranquility"; "Recollection" means recollection some memories after some interval of time.  Immediate overflow of emotions has a merger of both good and bad events.  When they are allowed to rest for some time, only the good events remain in the memory. The poet's expression of those powerful feelings must be easy, smooth and natural.

Samuel Taylor Coleridge's view about Poetry:-

“The poet, described in ideal perfection, brings the whole soul of man into activity, with the subordination of its faculties to each other, according to their relative worth and dignity. He diffuses a tone and spirit of unity that blends and (as it were) fuses, each into each, by that synthetic and magical power to which we have exclusive appropriated the name of imagination. This power, first put in action by the will and understanding and retained under their irremissive, though gentle and unnoticed, control (laxis effertur habenis [i. e. driven with loosened reins]) reveals itself in the balance or reconciliation of opposite or discordant qualities: of sameness, with difference; of the general, with the concrete; the idea, with the image; the individual, with the representative; the sense of novelty and freshness, with old and familiar objects; a more than usual state of emotion, with more than usual order; judgment ever awake and steady self-possession, with enthusiasm and feeling profound or vehement; and while it blends and harmonizes the natural and the artificial, still subordinates art to nature; the manner to the matter, and our admiration of the poet to our sympathy with the poetry. “

— “Biographia Literaria”, Chapter 14

William wordsworth:- 1.)          He sought to give the charm of novelty to things of everyday objects of nature by colouring it with the power of imagination. 2.)          Presented the common and simple life of peasants and shepherds – realistic description of his experience. 3.)          He remained of the earth and his own time. 4.)          Teacher- moralist 5.)          Lack musical quality- ‘has no ear for fine sound’. 6.)          Simplicity in diction- no difference between prose and poetry. 7.)          High priest of nature.

S.T.Coleridge:-     1.)   He sought to give    the charm of novelty to things of everyday objects – by making supernatural natural. 2.) Introduced dream like quality- element of mystery- wonder and supernatural. 3.) Went to Middle Ages- created the atmosphere of magic/mystery. 4.)Artist 5.) ‘epicure in sounds’- master of melody. 6.) Element of mysticism in diction- he differentiates prose and poetry in diction. 7.) Lived in the world of fancy and thoughts.

In Imaginative power and Narrative Skills, Coleridge surpassed Wordsworth.

Difference Between Wordsworth and Coleridge:-

1.) Wordsworth writes in a subjective style. He evaluates his view before composing an imaginative work. This is to a great extent why he experienced passionate feelings for in nature and turned into a nature admirer. He trusts in an ancient relationship between the soul of man and the nature around him. Coleridge then again is very objective. His works emerge out of the truthful and historical priority that involves his life.

2.) Wordsworth’s poetry is very following, genuine and stay in a lonely thought. Coleridge writes in parts and he is not able to keep up a solitary thought likely because of his opium use which he is infamous for.

 3.)   Wordsworth builds up in his well-known prelude that there is no contrast between the dialects of composition and verses as they both one and the same thing. Coleridge separates these two ideas on the premise that verse contains meter and rhyme while exposition doesn't contain these.

4.) Wordsworth’s well-known preface can be viewed as the announcement of sentimentalism on the grounds that it resonances key element fundamental in progress of the sentimental people.

 Coleridge's Biographia Literaria is generally a self-portraying works which drifted from its quick reason along the work's course.

5.) Wordsworth trusts that verse should contain occasions from genuine, regular and ordinary life while Coleridge trusts that this component is excessively restricting.

6.) Wordsworth trusts that a sonnet should  be free and that it should come out of effective feelings which are remembered in rapture or peacefulness, while Coleridge trusts that verse manages the correspondence of both truth and delight and that a few ballads may even need joy and convey just truth as it is.

7.) Wordsworth picked low and rustic life, where the important desires of the heart find a better place to express one’s feelings. They are less under limit and speak a simple and more definite language. In rustic life our basic feelings exist in greater simplicity. The manners of rural life, comes out from those basic feelings and from the necessary character of rural occupations, are more easily realized and are more strong. The feelings of men are combined with the beautiful and permanent forms of nature.

Characters in poems like Ruth, Micha, Coleridge points out, first, that not all Wordsworth characters el, The Brothers, are not low and rustic.

8.) The language of common men is used because they communicate with the best objects from which the best part of language is originally derives. They convey their feelings and ideas in simple and outright expressions because of their rank in society and the equality and narrow circle of their intercourse.

Coleridge objects to the view that the best part of language is derived from the objects with which the rustic hourly communicates. First, communication with an object implies reflection on it and the richness of vocabulary arises from such reflection. Now the rural conditions of life do not require any reflection, hence the vocabulary of the rustics is poor. They can express only the barest facts of nature and not the ideas and thoughts which results from their reflection. Secondly, the best part of a man’s language does not result merely from communication with nature, but from education, from the mind of noble thoughts and ideals. Whatever rustics use, are derived not from nature, but from The Bible and inspired preachers.

9.) Wordsworth made a number of statements regarding the language and diction of poetry.

 Of these, Coleridge refutes the following parts: “a selection or the real language of men”; “the language of the men in low and rustic life”: and, “Between the language of prose and that of metrical composition there neither is, nor can be, any essential difference”.

Coleridge takes up his statements, one by one, and proves that his views are not reasonable. Wordsworth asserts that the language of poetry is:

“A selection of the real language of men or the very language of men; and that there was no essential difference between the language of prose and that of poetry”.

Coleridge replies that,

“‘Every man’s language’ varies according to the extent of his knowledge, the activity of his faculties, and the depth or quickness of his feelings”.

Every man’s language has, first, its individual peculiarities; secondly, the properties common to his class; and thirdly, words and phrases of universal use.

“No two men of the same class or of different classes speak alike, although both use words and phrases common to them all, because in the one case their natures are different and on the other their classes are different”.

The language varies from person to person, class to class, place to place.

CONCLUSION:-

Both the writers Wordsworth and Coleridge have his own views about poetry. Coleridge and Wordsworth’s differences and similarities is what made their bond, each had their own mind-set on what they wrote about, and I think that is what countered each other to make for such great partners. They both used their imaginations to write their pieces. Coleridge seems more complex and uses weird imagery in his poems, while Wordsworth seems more easily understood and displays different views of nature and its tranquility. He also believes that every day used language is what should be used in poetry. Coleridge on the other hand believes that an everyday language isn’t what makes poetry, and doesn’t think it belongs in it. He thinks a more creative language and diction should belong. I do believe that Coleridge did share the same ideology with Wordsworth, but showed it in a more difficult way. For Wordsworth nature seems to symbolize love and misery of man. He uses his imagination, and expresses emotion in his poems. Coleridge says that poetry is clearly different from nature. Reading the poems of both Wordsworth and Coleridge, you can definitely see a difference in the simple-minded views by Wordsworth and the strange conceptions of Coleridge. But that is what makes both of their views in life and poetry harmonious.


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TASK:- According to this prepare a blog on difference between Alfred Tennyson and Robert Browning.

ASSIGNMENT 2:- WOMEN CHARACTERS IN "TOM JONES" BY HENRY FIELDING

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NAME: -HARIYANI VAIDEHI CHETANKUMAR

COURSE: - M.A ENGLISH

SEMESTER: - 1

BATCH: -   2015-2017

ENROLMENT NO: - PG15101022

SUBMITTED TO: -     SMT.S.B.GARDI

             DEPARTMENT OF ENGLISH MKBU

EMAIL ID: -   vaidehi09hariyani@gmail.com

PAPER NO: -  2

                    THE NEO-CLASSICAL LITERATURE

TOPIC: -   WOMEN CHARACTERS IN ‘’TOM JONES” BY  HENRY FIELDING.                                                

               WOMEN CHARACTERS IN TOM JONES

INTRODUCTION:-

'The History of Tom Jones, a Foundling', often simply as 'Tom Jones', is a comic novel by the English playwright and novelist Henry Fielding.

There are many major and minor characters in the play. We can say that the women characters are only in minor role. Importance is not given to the women. They are not at the power position. They are given a subordinate position. We can see the characters with the touch of feminism.

FEMINISM:-

Feminism is a range of movements and ideologies that share a common goal: to define, establish, and achieve equal political, economic, cultural, personal, and social rights for women.

LIST OF WOMEN CHARACTERS:-

There more than 20 characters in the play. Some of the women characters are discussed in further detail.

1.)          Sophia western

2.)          Mrs.Bridget Allworthy Blifil

3.)          Jenny Jones/ Mrs.Waters

4.)          Lady Bellaston

5.)          Molly Seagrim

6.)          Mrs.Deborah

7.)          Mrs.Western

8.)          Harriet Fitzpatrick

9.)          Mrs.Miller

10.)   Nancy Miller

11.)   Mrs.Wilkins

12.)   Ms.Susan

13.)   Mrs.Whitefield

14.)   Mrs.Seagrim

15.)   Mrs.Patridge

16.)   Mrs.Honour

17.)   The Nanny

18.)   Betty

19.)   Mrs.Abigail

20.)   Mrs.Arebella

1.)          SOPHIA WESTERN:-

Sophia Western is the heroine of the novel. She is the only daughter of Mr.Squire Western and in deep love with Tom Jones. She is the model of virtue, beauty and all good qualities. Sophia is an archetype of character. Henry Fielding tries to make Sophia perfect. It is said that Sophia’s characterisation is reflection of Fielding’s first wife. Sophia’s dedication for love shows that though obedient, but she is independent to make her decisions. When forced to marry Blifil, Sophia runs away from her house. A question might arise that if Sophia is the heroine of the play, why the title is Tom Jones rather than Sophia Western. Women are not given equal rights. Sophia has qualities like Beauty, youth, sprightliness, innocence, modesty and tenderness, while Tom is handsome but a flaccid character. Sophia portrays a typical women character. Literature itself is patriarchal. For example: - we have the father of literature or the father of the nation, but we don’t have the mother of literature or the mother of the nation.

2.)          MRS.BRIDGET ALLWORTHY BLIFIL:-

She is sister of Squire Allworthy, wife of Captain John Blifil and mother of master Blifil and Tom jones. At the end of the novel, the truth is revealed that she is the real mother of Tom jones. Life and History of Tom Jones depends on Mrs.Bridget. We see that she is a poor victim of the society.

Tom’s father is shown dead in the novel. He is removed from the novel, so the mother is blamed. Why the father is removed? All the things come on Mrs.Bridget. She alone handles the situation. Men are flaccid by character but the women are given blame for every bad situation.

“Women are the victim of the interior colonisation.”

3.)          JENNY JONES OR MRS.WATERS:-

Jenny Jones is the Partridge’s and Allworthy’s servant. She is a very intelligent woman who is used by Mrs.Bridget to deflect suspicions on Tom Jones maternity from her. Mr.Allworthy the so-called noble and kind man, without knowing whether Jenny is the real mother or not, sends her away from the estate. Why she is not given the chance to explain herself? She is poor so she is blamed. The lower class people are always looked upon as immoral by the high class people. Jenny Jones is a virtuous lady, but the society spoils her virtue. What is the advantage to being honest? If you are lower class the society then your honesty will have no value.

Later on she reappears as “Mrs.Waters” at Upton, where Tom saves her from a robbery and takes her at the inn to protect. It is said that she seduced Tom at the inn. How can she alone seduce Tom? We need both our hands to clap. Likewise Tom is too responsible. In the novel, it is not clear whether she was married to Mrs.Waters or not. She was living a virtuous life, but she was blamed for something she had not done. She is living her life differently throughout the novel. She has broken the shackles of the society, so she is called “a fallen woman”. In a way, she is happy in her life. Even Tom has many affairs, but Jenny being women is more accused.

4.)          LADY BELLASTON:-

She is aunt of Sophia Western and a leading figure in London society. She loves Tom Jones. People read this as a negative character. Why? Just because he loves Tom or thinking of Sophia marrying Lord Fellamar. Though her way is wrong, but her intention is to see Sophia happily married. Why a woman doesn’t have the right to love someone. In a way, we can see that women are not free. If they think differently, they are interpreted by the society.

5.)          MOLLY SEAGRIM:-

Molly is Tom's first love. She is the daughter of Black George the gamekeeper, and famous in the area for her attractiveness. But the narrator notes that there is something about her that "would at least have become a man as well as a woman”. Molly is "bold and forward”, rather than modest and shy.

In other words, Molly is the absolute opposite of Sophia Western: where Sophia is delicate and feminine, Molly is rough and even masculine. Where Sophia is chaste and careful in her interactions with men, Molly has at least three sexual partners that we know of: Tom, Mr. Square, and Will Barnes. And of course, the biggest difference is that Molly gets pregnant outside of marriage, while Sophia has to spend much of the novel caught up as a pawn in a competition between Mr.Blifil, Lord Fellamar, and even Tom for her hand in marriage.

She is always been cheated by the male characters. Will Barnes left her alone. It is also said that she is a bad character. After getting so much disloyalty, how can anyone expect her to be good? The society looks at flaws of Molly, why the male characters are not blamed? We can say that in trying to make Sophia perfect, Fielding deliberately portrays other characters in a bad light. We find exploitation of women in Tom Jones.

6.)          MRS.DEBORAH WILKINS:-

Mrs. Wilkins (and the "Mrs." here just means that she's older, not that she's married) is Squire Allworthy's servant. She's the one who first takes care of baby Tom when Squire Allworthy finds him wrapped up in his bed. But don't go thinking, just because she helps to look after young Tom, that Mrs. Wilkins is some kind of warm and fuzzy type.

She doesn't have a huge role in the novel, but most of her purpose in the story seems to be to show how ungrateful and snobby servants can be.

We see this bullying side of Mrs. Wilkins in her treatment of other women, in particular. It's Mrs. Wilkins who decides that Jenny Jones must be Tom's secret mother. When Mrs. Wilkins first "asks" Jenny if she's Tom's mom, she addresses her complete as an "audacious strumpet"(which means "cheeky prostitute"). Clearly, she isn't exactly willing to give Jenny the benefit of the doubt. As a loyal servant she helps Mrs. Bridget and in helping her she puts guilt on Jenny.

7.)          MRS.WESTERN:-

Mrs. Western is Squire Western's sister, not his wife. She goes by "Mrs." because she is an older lady, but she is not married.

In a lot of ways, Mrs. Western seems like what Squire Western would be if he had been born a woman. She is incredibly arrogant and sure of herself. And like Squire Western, she has absolutely no interest in Sophia's protests that she doesn't want to marry Mr.Blifil. Even more horrifying, she refuses to listen to Sophia's objections to Lord Fellamar, even after Sophia tells her that Lord Fellamar tried to assault her at Lady Bellaston's house. Mrs. Western's other truly important character trait is that she is vain as all get-out. We see this vanity over and over again in the novel. So, for example, while Mr. Fitzpatrick is wooing her niece Harriet right under Mrs. Western's nose, she never notices. She is so certain that Mr.Fitzpatrick wants to marry her that she never spots her niece's terrible romantic plans.

8.)          MRS.HONOUR:-

Mrs. Honour is Sophia's maid, and her ability to mingle with servants and catch up on gossip ends up being useful to her employer: for example, it's Mrs. Honour who first hears that Tom is staying at the inn at Upton. But beyond Mrs. Honour's role as a plot device, she does not have much depth as a character.

Mrs. Honour is a huge chatterbox. She just goes on and on and on. Her dialogue appears as these huge, intimidating blocks in the novel—we have to wonder when she has the time to draw breath. Of course, her talking is mostly gossip about the other characters: not only is Mrs. Honour the one to first reveal Tom's love to Sophia, but she also seems to know that Lady Bellaston keeps a love nest in another neighbourhood from her actual house. Mrs. Honour knows a great deal, but you have to sift through a lot of extra information and random commentary to get to any substance.

CONCLUSION:-

We see both types of women characters in this novel, ones with the bad light and with good light. Overall the women character in this novel faces injustice in one or the other way. Henry fielding has represented Sympathy for women in thematic terms. Fielding’s ideology is embedded in the text.

“Woman was made for the comfort and benefit of man”.

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ASSIGNMENT 1 :- THE VOICE OF CONSCIENCE IN DR.FAUSTUS

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NAME:- HARIYANI VAIDEHI CHETANKUMAR

COURSE: - M.A ENGLISH

SEMESTER: - 1

BATCH: -   2015-2017

ENROLMENT NO: - PG15101022

SUBMITTED TO: -     SMT.S.B.GARDI

           DEPARTMENT OF ENGLISH MKBU

EMAIL ID: -   vaidehi09hariyani@gmail.com

PAPER NO: - 1

                    THE RENAISSANCE LITERATURE

TOPIC: -   THE VOICE OF CONSCIENCE IN DR.FAUSTUS                                               

     

             The Voice Of Conscience in Dr.Faustus

Introduction:-

             'The Tragical History of the Life and Death of Doctor Faustus' commonly referred to simply as 'Dr.Faustus'.  It is a play by Christopher Marlowe. It is based on the German story Faust, in which a man sells his soul to the devil for power, experience, pleasure and knowledge.

 What is conscience?

 Conscience is an aptitude, faculty, intuition or judgement that assists in distinguishing right from wrong. In psychological terms, conscience is often described as leading to feelings of remorse when human commits actions that go against his/her moral values.

Generally, conscience is referred to metaphors like the “voice within” and the “inner light”.

              

The voice of conscience is observed throughout the play in 'Dr.Faustus'.  This inner conflict confuses Dr.Faustus in taking a decision. After the decision is taken, again we see the inner voice when he is at the edge of the death.

Two angels and the Old man personifies Faustus’s inner conflict. We can also see some Latin words which is also the externalisation of his mind. In the very beginning we come to know about Dr.Faustus and the so far knowledge he has gained. Two angels and the Old man are the voice of conscience, so where this voice does comes from? In act 1, we come to know that Faustus has studied the Divinity:

“When all is done, divinity is best:

  Jerome’s Bible, Faustus; view it well.”

As he has learnt the divinity, he has a spiritual aspect in him. It does make him realise the difference between right and wrong, but he doesn’t follow the right path.

“The reward of sin is death: that’s hard”

He himself very well understands that he is wrong. He knows that death is the punishment of all sin, but his negative thoughts are stronger than positive ones. We can say that Good Angel represents positive thoughts of Faustus while Evil Angel represents negative thoughts. His desire to become powerful leads him towards his downfall, but when he realises it’s too late.

Good Angel:-

Good angel is the voice of conscience in a positive way. It distinguishes evil from good. After learning all most all the subjects, Faustus wants to learn Necromancy. He knows that it might be dangerous to learn this subject. His desire is to become demi-god. When he thinks of being powerful, good angel; the inner voice stops him:

“O, Faustus, lay that damned book aside,

And gaze not on it, lest it tempt thy soul,

And heap God’s heavy wrath upon thy head!

Read, read the scriptures: - that is blasphemy.”  - Act 1

     

He had already read the scriptures, so he knew that this desire might cause his downfall. Good angel asks Faustus to leave that execrable art. Faustus do thinks about contrition, prayer and repentance. His inner voice does tell him that they means to bring him unto heaven and also reminds him to think about heaven and heavenly things. Faustus sells his soul and uses his knowledge in silly things. When he feels that his end is near, we see that Good angel appears in form of the thought of repentance.

 “Faustus, repent; yet god will pity thee” – Act 2 scene 2

     

When Faustus is at the threshold of death, he thinks that if he had followed the conscience in positive way then he might not come in a situation like this. What is the use of riches and pleasures now when the death is about to come. Lastly before Lucifer comes to get his soul, his heart; the Good angel moans:-

“O, thou hast lost celestial happiness,

Pleasures unspeakable, bliss without end

Hadst thou affected sweet divinity,

Hell or the devil had had no power on thee.

Hadst thou kept on that way………..

…And now, poor soul, must thy good angel leave thee:

The jaws of hell are open to receive thee” – Act 5 scene 2

Evil Angel:-

        Evil angel also represents the externalisation of Faustus’s mind. On one hand we see the voice of conscience in form of Good Angel who stops Faustus to fulfil his wish, while on the other hand there is Evil Angel which tempts Faustus. Evil angel urges Faustus to fulfil his desire to learn necromancy.

“Go forward, Faustus, in that famous art

 Wherein all nature’s treasure is contain’d:

 Be thou on earth as Jove is in the sky,

 Lord and commander of these elements” – Act 1 scene 1

        

Evil Angel challenges Good Angel; the heart challenges the mind. Dr.Faustus knows that he is on a wrong path, but the illusionary success diverts his attention whenever the Good angel appears. The evil is stronger than the good. When Faustus thinks about prayer or contrition, evil angel considers it as illusions, fruits of lunacy. The mind says that the men are foolish that are thinking about heaven and heavenly things. Evil Angel tempts Faustus to think of honour and of wealth. At the end also we see that Faustus is in dilemma for repenting. He is also caught in the state of ‘to be or not to be”. Evil angel represents the thought that there is no need to repent and should never repent. Evil angel tempts Faustus to taste the pain of hell. As Satan says in Paradise Lost “It is better to rule in hell, rather than serve in heaven”. Same thought is represented by Evil Angel.

“Nothing, but vex thee more,

To want in hell, that had on earth such store.”

Old Man:-

Old man too is the voice of inner conflict of Dr.Faustus. This voice of old man as externalisation of his mind comes at last stage of the play. The role of Good angel and Old man is the same, to stop Faustus taking wrong steps. Old angel urges him to leave the art, as the magic had charmed him to sell his soul. It warns him that no one express of hell, it can be harsh or unpleasant. Old angel also urges for repentance.

        Now if we look at our culture also, people often say that if we ask for forgiveness with a true heart, God forgives us for our mistakes. The same thought is represented by Old man:-

“O, stay, good Faustus, stay thy desperate steps!

I see an angel hover o’er thy head,

And, with a vial full of precious grace,

Offers to pour the same into thy soul:

Then call for mercy, and avoid despair.”

         Dr.Faustus is constantly in trouble between the positive and negative thoughts. When he is irritated with the positive thought; old man, he forgets everything. The vanishing last thought says:-

“Faustus, I leave thee; but with grief of heart,

Fearing the enemy of thy hapless soul.”

Homo Fuge:-

“Homo Fuge” these words are in Latin. It means “O man fly”. This word appears when signs the contract with his blood:-

“Homo Fuge! Whither should I flie?

If unto God, he’ll throw me down to hell

My senses are deceived: here’s nothing writ!” – Act 2 scene 1

Psychology believes in reality rather than magic. Considering this, we can say that these words are also the personification of Dr.Faustus’s inner voice.

Conclusion:-

     If we consider 'Dr.Faustus' from the religious point of view, we can say that Good Angel and Old man are the forms of God. A question might arise that if God is present, why the evil does win. God is something that cannot be described. So in Doctor Faustus we find the conflict or the psychological struggle furious in the heart and soul of the hero.

 In fact there is hardly any external action in this play—“the description of a psychological struggle or spiritual conflict in the mind of the hero is the chief thing.” But then why is this struggle and to what is this due? Generally this inner conflict takes place when a man is faced with two substitutes, one of which he must have to choose but finds himself pulled in opposite directions. The conflict may be said to be the conflict between will and conscience externalised by the Bad Angel and Good Angel respectively. So the heart of Faustus is the field where the forces of good and evil are trying to overpower each other. Marlowe’s 'Tamburlaine', 'Edward II' and 'The Jew of Malta', all show this external conflict as it takes place between the hero and his opponents. But the hero’s heart and soul is the great battlefield for the internal or spiritual conflict. Two opposite thoughts, desires, emotions, devotions or associations may struggle against each other in human soul giving rise to most serious spiritual conflict. And of all tragic conflicts, the most tragic one is the losing battle of the good in man against the evil that ultimately comes out successful. Marlowe’s 'Doctor Faustus', the most outstanding tragedy before Shakespeare, illustrates this ultimate spiritual conflict in the most dynamic manner.

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