Wednesday, October 21, 2015

Paper no:- 04 .INDIAN WRITING IN ENGLISH

(Maharaja Krishnakumarsinhji Bhavnagar University)
Name :-         chintavan n bhungani
Semester:-      M.A SEM 1
Roll no:-         06

Paper no:-   04 .INDIAN WRITING IN ENGLISH


Enrollment no:-    PG15101006
Email id:-          cnbhungani7484@gmail.com
Bloge id:-         chintavanbhungani201517.blog.spot.com

Topic:- INDIAN WRITING IN ENGLISH 
Kodaganallur Ramaswami Srinivasa Iyengar (1908–1999) popularly known as K. R. Srinivasa Iyengar was an Indian writer in English, former Vice Chancellor ofAndhra University. He was given the prestigious Sahitya Academy Fellowshipin 1985.
                                                                                                                                            INTRODUCTION:-

The phrase „Indo-Anglian‟ was used to describe the original creative writing in English by the Indians. It is the literature written by the Indians whose mother-tongue is not English. According to K.R.S. Ingra  there are three types of Indian writers in English, first those who have acquired their entire education in English schools and universities. Secondly, Indians who have settled abroad but are constantly in touch with the changing surrounding and traditions of their country of adoption, and finally, Indians who have acquired English as a second language. Consequently, largenumber of Indians were greatly moved by the genuine desire to present before the western readers authentic pictures of life in India through theirNumerous writings.

The Novel was AS the most forceful and convincing of all the genres of literature in recent years. Becauseit has been widely accepted as the most appropriate form for the exploration of experiences and ideas in today’s World. Now day’s people have no time for reading epic or long novella that’s why novel form very popular inliterature after renaissance. The Indian English Novel has passed through several stages before reaching present position where it gained a standing on par with its counterparts in the West. The evolution of Indian fiction in English may be broadly divided into four stages. It was in Bengal that a literary renaissance first manifested itself, but almost immediately afterwards its traces could be seen in Madras, Bombay and other more educated parts of India. The first stage includes the works of Bunkum Chandra Chattered, Toru Dust, RomeshChander Dust, B.R.Rajan,T.Ramakrishna and others.
                                                                       
Bankim ChandraChatterjee‟s Rajmohan’s Wife (1864) was the first English novel written by an Indian. His works brought a certain space and stature to Indian novels in English.

The period after the First World War has been considered the second period. In the first decade after the war, S.K. Ventaramani, Shankar Ram andA.S.P. Ayer was the novelists who came to the fore. After them comes the emergence of the great „Trio‟- Mulk Raj Anand, R.K.Narayan and Raja Rao.Who are considered as the finest painters of Indian sensibilities. They tried to revive the ancient tradition of the Epics and Puranas of India.


The three major writers together are called the major „trio‟ who produced epoch-making pieces of English fiction writing. The Post-Independence Era which is the third phase has a two-fold effect on Indian writing in English. The radical changes like poverty, hunger, death, diseased., which were brought about by the Partition of the country, on the one hand made the writers dream about a finer future and on the other hand widened their vision, sharpened their self-examining faculty. Thereby provided fertile soil for many novelists to flourish and a considerable number of novels were produced. Some prominent writers of this period are-BhabaniBhattacharya, Manohar Malgonkar, Kushwant Singh, Sudhin Ghosh, G.V.
Desani, Ananthanarayanan, J. Menon Marath and others.


Another important feature of this period was the growth of Indian women novelists. The chief figures are like  RuthPawar Jhabvala, KamalaMarkandaya, Nayantara Sahgal and Anita Desai.



Ø TYPES AND THEME OF NOVEL:-
The growth of Indian English Novel is remarkable. The number of new novelists, both men and women, has increased in an unprecedented scale. The range of themes, forms and sub-genres in Indian English Novel is very vast. As far as the genres within Novel is concerned, there are political novel, Novel of Social Realism, Novel of Magic Realism, The Partition Novel, Novel of Diaspora, Historical Novel, Regional Novel, the Children’s Fiction, the Campus Novel and others. Like many sub-genres of Novel, Campus Novel is originated from the west. The number of novels dealing with academic themes is adequate that they can form a corpus



Toru Dust, SarojiniNaidu and Sri Aurobindo wrote in English and not in Bengali. They usedEnglish to represent the Indian culture and spirit. In this connection, the
remarks of Randolph Quirk and Raja Rao, are of worth quoting. According to Quirk, English is not the private property of the Englishmen. Similarly, Raja
Rao says in the Preface of his novel Kanthapura (1938, rpt. 1971: 5)

 “One has to convey in a language that is not one's own, the spirit that is one’s own.”

It seems that the mother-tongue did not impede their way in writing in English. Commenting on the use of English by the Indians as the medium of writing and expression, James H. Cousins (1918: 179) says, “… If they (Indians) are compelled as an alternative to writing in their own mother-tongue, let it be not Anglo-Indian, but Indo-Anglian, Indian in spirit, Indian in thought, Indian in emotion, Indian in imagery and English only in words….” In this regard, R. K.Narayan, as pointed out by K.R.S. Iyengar (1973: 30) says: “… I am able to confirm, after nearly thirty years of writing, that English has served my purpose admirably.” This is how with a rich contribution to prose, poetry, novel and drama, these writers have made Indo-Anglican literature as matter of pride to Indians and a source of admiration to the foreigners.
v MAJOR WRITER’S OF INDIAN ENGLISH NOVEL’S:-

·        Bankim ChandraChatterjee:-

I am not very sure why it was particularly named after Matangini, Rajmohan’s wife. But, it is an interesting read, talking about the plot. Rajmohan is one of the aids of Mathur Ghose who plans to attack his cousin Madhav Ghose. Matangini overhears Rajmohan discussing his plans to attack Madhav’s house with his friends Bhiku and Sardar. She is worried as she has a great deal of affection for Madhav and his wife Hema, who happens to be Matangini’s own sister. Concerned, she ventures out to Madhav’s home and informs him the situation, thus saving them from an attack planned at that very moment. She is welcomed by a furious Rajmohan as she returns home. Rajmohan rushes forward to kill her. At that very moment, Bhiku and Sardar arrive. In the brief interlude, Matangini escapes from the house. By the quirk of fate, she ends up taking shelter in Mathur Ghose’s house, which is nearer to Rajmohan’s house. Dramatically, she disappears when she is sent back to her husband, on his request.Madhav is held captive by the person who eyes his property.

·        Mulk Raj Anand:-

Mulk Raj Anand is humanist and a novelist with apurpose. He writes from his personal experience and the experiences of real people. For Mulk Raj Anand (2000: 65), the novel is “the creative weapon for attaining humanness – it is the weapon of humanism.” He writes basically about the lower class life. Widely read novelist Anand is influenced by Charles Dickens, H. G. Wells and Tolstoy in both form and characterization. He followed the ancient Indian tradition of story-telling, but his approach to themes and events, is of a social realist. Therefore, his novels are the novels of protest and social realism. Anand is influenced by the two ideologies – the Western Marxism and the Eastern Gandhism.
                            Anand‟s early novels, Coolie (1936), Two Leaves and a Bud (1937),Village (1939), Across the Black Waters (1940) The Sword and the Sickle (1942) andThe Big Heart (1942) justify this point, as Anand has brought in them the lower-class down-trodden people such as the scavengers, the coolies, the leatherworkers, and the untouchables who form the bulk of Indian society. His novel Untouchableis a classic experimentation in respect of theme and technique. It represents a day from morning till evening in the life of a sweeper boy named
Bakha who is in the words of E. M. Forster (1981: 9) “a real individual, lovable
Thwarted, sometimes grand, sometimes weak, and thoroughly Indian.”
·        R. K. Narayan

R. K. Narayan, on the other hand, is the novelist of middleclass sensibility. He is a natural story-teller in his novels from Swami and Friends (1935) to The Painter of Signs (1976). His novels The Bachelor of Arts (1937), The Dark Room (1938), The English Teacher (1945) and Mr.Sampath (1949) brilliantly and realistically describe the South-Indian life. William Walsh (1983: 250) says that R. K. Narayan’s writing is “a distinctive blend of Western technique and Eastern material.” The world of R. K. Narayan’s novels is Malgudi, an imaginary South-Indian town. In the words of Alan Warner (1961: 190)Narayan “writes admirably plain English.” His is a very simple and straightforward style of narration.

·        TORU DUTT

Tour Dust was often called the Keats of the Indo-English literature for more than one reason - her meteoric rise on and disappearance from the literary firmament, as also for the quality of her poetry. Toru died, like John Keats, of consumption and the end came slow and sad.
   Toru Dutt’s literary achievements lay more in her poetic works than in her prose writings. Her poetry is meagre, consisting of A Sheaf Gleaned in French Fields and Ancient Ballads and Legends of Hindustan. But she "compels attention" as KRS Iyengar puts it. Her poetry has sensitive descriptions, lyricism and vigour. Her only work to be published during her lifetime was A Sheaf, an unassuming volume in its overall get-up.

·        RAJA RAO:-

Raja Rao (8 November 1908 – 8 July 2006) was an Indian writer of English language novels and short stories, whose works are deeply rooted in Hinduism.The Serpent and the Rope (1960), a semi-autobiographical novel recounting a search for spiritual truth in Europe and India, established him as one of the finest Indian prose stylists and won him the Sahitya Akademi Award in 1964.
                     Raja Rao’s first novel Kanthapura (1938) is the story of a village in south India named Kanthapura. The novel is narrated in the form of a ‘sthalapurana’ by an old woman of the village, Achakka. Kanthapura is a traditional caste ridden Indian village which is away from all modern ways of living. Dominant castes like Brahmins are privileged to get the best region of the village whereas Sudras, Pariahs are marginalized. The village is believed to have protected by a local deity called Kenchamma. Though casteist, the village has got a long nourished traditions of festivals in which all castes interact and the villagers are united.so in this novel we can see the Indian culture and theme of feminism, castes.

. AND HIS OTHER MAJOR WORKS LIKE, Kanthapura, the Serpent and the Rope, and the Cat and Shakespeare,



CONCLUSION:-

                         So here we detailed discuss about Indianwriting English background, writer and major theme, style of Indiannovels. Indian novels are one the most important part of Indian writing in  English literature because Indian writer written new style and theme of India with his experience of India that’s why indo- Anglian writer was so popular . 
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Paper no:- 03 literary theory and criticism

DEPARTMENT OF ENGLISH
(Maharaja Krishnakumarsinhji Bhavnagar University)
Name :-         chintavan n bhungani
Semester:-      M.A SEM 1
Roll no:-         06

Paper no:-   03 literary  theory and criticism


Enrollment no:-   PG15101006
Email id:-  cnbhungani7484@gmail.com
Bloge id:-  chintavanbhungani201517.blog.spot.com

Topic:-  criticism and its terms.   
Introduction.
                  
The term is applied to a number of works in drama and prosefictionwhich have in common the sense that the humanconditionisessentially absurd, and that this condition can be adequatelyrepresentedonly in works of literature that are themselves absurd. So here we discuss various terms or types of criticism


 Criticism means……

       “Criticism is a branch of study concerned with defining,
        Classifying, expounding and evaluating work of literature”.
                                  
      Types of Criticism.
Criticism, or more specifically literary criticism, is the overall term for studies concerned with defining, classifying, analyzing, interpreting, and50 CRITICISM
Evaluating works of literature. Theoretical criticism proposes an explicit theory of literature, in the sense of general principles, together with a set of terms, distinctions, and categories, to be applied to identifying and analyzing works of literature, as well as the criteria (the standards, or norms) by which these works and their writers are to be evaluated.
          There are many types of criticism like…
·        Practical Criticism or Applied Criticism.
                         Practical Criticism or Applied Criticism concerns itself with the discussion of particular works and writers.

For Example….
Among the more influential work of Applied criticism In England and America are the literary essay of Dryden in the Restoration.
                                                                                                    ‘Lives of the Poet’.
.Impressionistic Criticism. 
Impressionistic Criticism means personal impression. Impressionistic Criticism attempts to represent in words the felt qualities of a particular work and to express the attitude and feelingfulresponses, the impression, which the work directly evokes from the critic.

For Example…. 
     On William Hazlitt put it in his essay…   “On Genius and Common Sense”.
·        Judicial Criticism. 
Judicial Criticism on the other hand not merely to communicate but to analyzed and explains the effect of a work by reference to its subject.

1).Pragmatic Criticism.
        Pragmatic criticism is concerned first leading, with ethical impact any literary text has upon an audience. Itbelieve that art. The works as something which is constructed in order to achieve certain effect on the audience.
2).Expressive Criticism.
        Expressive criticism treats a literary work primarily in relation to the author .It defined poetry as an e expressive or overflow, or utterance of feelings recollected in tranquility is taken as the ground idea of the expressive theory of art.
3).Objective Criticism.
        Objective Criticism approaches the work as something which stands free from poet ,audience ,and the environment world .It describes the literary products a self enough object or as a analyzed and as difficulty ,coherence in terrify and the interrelation of it’s part element.
4).Mimetic Criticism.
        ‘Mimetic’ is derived from the Greek word ‘Imitation’.’Mimetic’ means creative copy.Mimetic criticism views the literary work as an imitation or reflection or representation of the world and human life and the primarily criterion applied to a work is that of the ‘truth’ of its representation to the subjects it representation, or should represents.

·        Plot:-

The order of a unified plot, Aristotle pointed out, is a continuous sequence of beginning, middle, and end. The beginning initiates the main action in a way which makes us look forward to something more; the middle presumes what has gone before and requires something to follow; and theendfollows from what has gone before but requires nothing more; we feel satisfied that the plot is complete. The structural beginning (sometimes also called the "initiating action," or "point of attack") need not be the initial stage of the action that is brought to a climax in the narrative or play. The epic, for example, plunges in medias res, "in the middle of things" (see epic),many short stories begin at the point of the climax itself, and the writer of drama often captures our attention in the opening scene with a representative incident, related to and closely preceding the event which precipitates the central situation or conflict. Thus Shakespeare's Romeo and Juliet opens with street fight between the servants of two great houses, and his Hamlet with the apparition of a ghost; the exposition of essential prior matters—the feud betweentheCapulets and Montague’s, or the posture of affairs in the Royal House of Denmark—Shakespeare weaves rapidly and skillfully into the dialogue of these startling initial scenes. In the novel, the modern drama, and especially the motion picture, such exposition is sometimes managed by flashbacks: interpolated narratives or scenes (often justified, or naturalized, as a memory, a reverie, or a confession by one of the characters) which represent events that happened before the time at which the work opened. Arthur Miller’s play Death of a Salesman (1949) and Ingmar Bergman's film Wild Strawberries make persistent and skillful
Use of this device.  So it’s a style of plot in any form of literature.


·        THREE UNITIES-TIME PLACE AND ACTION:-
In large part because of the potent example of Shakespeare, many of whose plays represent frequent changes of place and the passage of many years, the unities of place and time never dominated English neoclassicism as they did criticism in Italy and France. A final blow was the famous attack against them, and against the principle of dramatic verisimilitude on which they were based, in Samuel Johnsons "Preface to Shakespeare" (1765). Since then in England, the unities of place and time (as distinguished from the unity of action) have been regarded as entirely optional devices, available to the playwright to achieve special effects of dramatic concentration. On the assumption that verisimilitude—the achievement of an illusion of reality in the audience of a stage play—requires that the action represented by a play approximate the actual conditions of the staging of the play, they imposed the requirement of the "unity of place” (that the action represented be limited to a single location) and the requirement of the "unity of time" (that the time represented be limited to the two or three hours it takes to act the play, or at most to a single day of either twelve or twenty-four hours).In the sixteenth and seventeenth centuries, critics of the drama in Italy and France added to Aristotle’s unity of action, which he describes in his Poetics, two other unities, to constitute one of the rules of drama known as "the three unities."


·        TRAGEDY

  When flexibly managed, however, Aristotle’s discussions apply in some part to many tragic plots, and his analytic concepts serve as a suggestive starting point for identifying the differentiae of various non- Aristotelian modes of tragic construction. In the subsequent two thousand years and more, many new and artistically effective types of serious plots ending in a catastrophe have been developed—types that Aristotle had no way of foreseeing. The many attempts to stretch Aristotle’s analysis to apply to later tragic forms serve merely to blur his critical categories and to obscure important differences among diverse types of plays, all of which have proved to be dramatically effective. Aristotle based his theory on induction from the only examples available to him, the tragedies of Greek dramatists such as Aeschylus, Sophocles, and Euripides. More precise and detailed discussions of the tragic form properly begin—although they should not end—with Aristotle‘s classic analysis in the Poetics (fourth century B.C.). The term is broadly applied to literary, and especially to dramatic, representations of serious actions which eventuate in a disastrous conclusion for the protagonist (the chief character).


·        Chorus

Among the ancient Greeks the chorus was a group of people, wearing masks, which sang or chanted verses while performing dancelike maneuver sat religious festivals. A similar chorus played a part in Greek tragedies, where (in the plays of Aeschylus and Sophocles) they served mainly as commentator son the dramatic actions and events who expressed traditional36 CHRONICLE PLAYS moral, religious, and social attitudes; beginning with Euripides, however, the chorus assumed primarily a lyrical function. The Greek ode, as developed by Pindar, was also chanted by a chorus; see ode. Roman playwrights such as Seneca took over the chorus from the Greeks, and in the mid-sixteenth century some English dramatists (for example, Norton and Sackville in Gorbuduc) imitated the Seneca chorus. The classical type of chorus was never widely adopted by English dramatic writers. John Milton, however, included a chorus in Samson Agonists (1671), Shelley in Prometheus
Unbound (1820), and Thomas Hardy in The Dynasts (1904-08); more recently. S. Eliot made effective use of the classical chorus in his religious tragedy Murder in the Cathedral (1935). The use of a chorus of singers and dancers survives also in opera and in musical comedies. For the alternative use of the term "chorus" to signify a recurrent stanza in a song, see refrain. Refer to A. W. Pickard-Cambridge, Dithyramb, Tragedy and Comedy (1927), and the Dramatic Festivals of Athens  

      Conclusion
          In short, Criticism means ‘To Analyze’, ‘To criticize ’, and ‘To Judge ’.various types of criticism performed different way. And critics who imagine his own different thing from writer are called criticism.

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PAPER NO.2 .NEO CLASSICAL AGE

(Maharaja Krishnakumarsinhji Bhavnagar University)
Name :-         chintavan n bhungani
Semester:-      M.A SEM 1
Roll no:-         06

Paper no:-    02 NEO CLASSICAL AGE


Enrollment no:-   PG15101006
Email id:-  cnbhungani7484@gmail.com
Bloge id:-  chintavanbhungani201517.blog.spot.com


Topic:-  Q.The history of the age/ background reading of neo-classical literature and characteristics of Augustan age?    ANS: - The eighteenth century in English literature has been called the Augustan, the neoclassical age, and the age of reason. The term ‘the Augustan age’ comes from the self-conscious imitation of the original Augustan writers, Virgil and Horace, by many of the writers of the period specifically Augustan age was the period of the restoration era of the death of alexander pope(1690-1744) the major writers of the age were pope and john Dryden forms the link between restoration Augustan literature; all though he wrote ribald comedies  in the restoration vein his verse satires were highly admired by the generation of the poets who followed him, and his writings on literature were very much in neo-classical spirit but more than any other it is the name of alexander pope which is associated with the epoch none as the Augustan age despite the fact that the other writers such as Jonathan swifts and DanielDefoe had a more lasting influence. This is partly a result of the politics of naming inherent in literary history: many of the early forms of prose narrative common at this time did not fit to a literary era which defines itself as neo-classical.

v History of the period:-
The revolution of 1688, which banished the last of the Stuart kings and called William of orange to the throne, marks the end of the long struggle for political freedom In England. Thereafter the Englishman spent his tremendous energy, which his forbears had largely spent in fighting for freedom, in endless political discussions and in efforts to improve his government. In order to bring about reforms, votes were now necessary; and to get votes the people of England must be
Approached with ideas, facts, arguments, information. So the newspaper was born,[182] and literature in its widest sense, including the book, the newspaper, and the magazine, became the chief instrument of a nation's progress.

·        Definition
Neoclassical literature was written between 1660 and 1798. This time period is broken down into three parts: the Restoration period, the Augustan period, and the Age of Johnson.
Writers of the neoclassical period tried to imitate the style of the Romans and Greeks. Thus the combination of the terms 'neo,' which means 'new,' and 'classical,' as in the day of the Roman and Greek classics. This was also the era of The Enlightenment, which emphasized logic and reason. It was preceded by The Renaissance and followed by the Romantic era. In fact, the neoclassical period ended in 1798 when Wordsworth published the Romantic 'Lyrical Ballads'. 

v Social development:-
The first half of the eighteenth century is remarkable for the rapid social development in England. Hitherto men had been more or less governed by the narrow, isolated standards of the middle Ages, and when they differed they fell speedily to blows. Now for the first time they set themselves to the task of learning the art of living together, while still holding different opinions. In a single generation nearly two thousand public coffeehouses, each a center of sociability, sprang up in London alone, and the number of private clubs is quite as astonishing. [183] this new social life had amarked effect in polishing men's words and manners. The typical Londoner of Queen Anne's day was still rude, and a little vulgar in his tastes; thecity was still very filthy, the streets unlighted and infested at night by bands of rowdies and "Mohawks"; but outwardly men sought to refine their manners according to prevailing standards; and to be elegant, to have "good form," was a man's first duty, whether he entered society or wrote literature. One can hardly read a book or poem of the age without feeling
This superficial elegance. Government still had its opposing Tory and Whig parties, and the Church was divided into Catholics, Anglicans, and Dissenters; butthegrowing social life offset many antagonisms, producing at least the outward impression of peace and unity. Nearly every writer of the age busied himself with religion as well as with party politics, the scientist Newton as sincerely as the churchman Barrow, the philosophical Locke no less earnestly than the evangelical Wesley; but nearly all tempered their zeal with moderation, and argued from reason and Scripture, or used delicate satire upon their opponents, instead of denouncing them asfollowers of Satan. There were exceptions, of course_; _ but the general
Tendency of the age was toward toleration. Man had found himself in thelong struggle for personal liberty; now he turned to the task of discovering his neighbor, of finding in Whig and Tory, in Catholic and Protestant, in Anglican and Dissenter, the same general human characteristics that he found in himself. This good work was helped, moreover, by the spread of education and by the growth of the national
Sprit, following the victories of Marlborough on the Continent. In the midst of heated argument it needed only a word--Gibraltar, Blenheim, Ramillies, Malplaquet--or a poem of victory written in a garret [184] to
Tell a patriotic people that under their many differences they were all
Alike Englishmen.


v ‘Neoclassicism’

the work of Dryden, pope ,swift Addison and Johangay, as well as many of their contemporaries, exhibit qualities of order, clarity and stylistic decorum, that were formulated in the major critical documents of the age: Dryden’s an essay of dramatic poesy(1668), and pope’s essay on criticism(1711). These works, forming the basis for modern English literary criticism, insist that ‘nature’ is the true model and standard of writing. This ‘nature’ of Augustans, however, was not the wild, spiritual nature of the romantic poet would later idealize, but nature as derived from classical theory: a rational and comprehensible moral order in the universe, demonstrating god’s providential design. The literary circle around pope considered homer preeminent among ancient poets in his description of nature and concluded in a circuitous feat of logic that the writer who ‘imitates’ homer is also describe nature. From this follows the rule inductively based on the classical that pope articulate in his essay on criticism:


Characteristics of Neoclassical Literature

Neoclassical literature is characterized by order, accuracy, and structure. In direct opposition to Renaissance attitudes, where man was seen as basically good, the neoclassical writers portrayed man as inherently flawed. They emphasized restraint, self-control, and common sense. This was a time when conservatism flourished in both politics and literature.
Some popular types of literature included:
  • An Age of prose 
  • Essays
  • Satire
  • Letters
  • Fables
  • Melodrama, and
  • Rhyming with couplets 


Ø An Age of prose:-

In every preceding age we have noted especially the poetical works, which constitute, according to Matthew Arnold, the glory of English literature. Now for the first time we must chronicle the triumph of English prose. A multitude of practical interests arising from the new social and political conditions demanded expression, not simply in books, but more especially in pamphlets, magazines, and newspapers. Poetry was inadequate for such a task; hence the development of prose, of the "unfettered word," as Dante calls it,--a development which astonishes us by its rapidity and excellence. The graceful elegance of Addison's essays, the
Terse vigor of Swift's satires, the artistic finish of Fielding's novels, the sonorous of Gibbon's history and of Burke's orations,--these have no parallel in the poetry of the age. Indeed, poetry itself became prosaic in this respect, that it was used not for creative works of imagination, but for essays, for satire, for criticism,--for exactly the same practical ends as was prose. The poetry of the first half of the century, as typified in the work of Pope, is polished and witty enough, but artificial; it lacks fire, fine feeling, and enthusiasm, the glow of the Elizabethan Age and the moral earnestness of Puritanism. In a word, it interests us as a study of life, rather than delights or inspires us by its appeal to the imagination. The variety and excellence of prose works, and the development of a serviceable prose style, which had been begun by
Dryden, until it served to express clearly every human interest andEmotion,--these are the chief literary glories of the eighteenth century.
Ø Satire:-
In the literature of the preceding age we noted two marked tendencies,--the tendency to realism in subject-matter, and the tendency to polish and refinement of expression. Both these tendencies were continued in the Augustan Age, and are seen clearly in the poetry of Pope, who brought the couplet to perfection, and in the prose of Addison. A third tendency is shown in the prevalence of satire, resulting from the unfortunate union of politics with literature. We have already noted the power of the press in this age, and the perpetual strife of political parties. Nearly every writer of the first half of the century was used and rewarded by Whigs or
Tories for satirizing their enemies and for advancing their special political interests. Pope was a marked exception, but he nevertheless followed the prose writers in using satire too largely in his poetry. Now satire--that is, a literary work which searches out the faults of men or institutions in order to hold them up to ridicule--is at best a destructive kind of criticism. A satirist is like a laborer who clears away the ruins and rubbish of an old house before the architect and builders begin on a new and beautiful structure. The work may sometimes be necessary, but it rarely arouses our enthusiasm. While the satires of Pope, Swift, and Addison are doubtless the best in our language, we hardly place them with our great literature, which is always constructive in spirit; and we have the feeling that all these men were capable of better things than they ever wrote. 
Ø THE CLASSIC AGE:-
 The period we are studying is known to us by various names. It is often called the Age of Queen Anne; but, unlike Elizabeth, this "meekly stupid" queen had practically no influence upon our literature. The name Classic Age is more often heard; but in using it we should remember clearly these three different ways in which the word "classic" is applied to literature: (1) the term "classic" refers, in
General, to writers of the highest rank in any nation. As used in our literature, it was first applied to the works of the great Greek and Roman writers, like Homer and Virgil; and any English book which followed the simple and noble method of these writers was said to have a classic style. Later the term was enlarged to cover the great literary works of other ancient nations; so that the Bible and the Avestas, as well as the Iliad and the Adenoid, are called classics. (2) Every national literature has at least one period in which an unusual number of great writers are producing Books and this is called the classic period of a nation's literature. Thus the reign of Augustus is the classic or golden age of Rome; the generation of Dante is the classic age of Italian literature; the age of Louis XIV is the French classic age; and the age of Queen Anne is often called the classic age of England. (3) The word "classic" acquired an entirely different meaning in the period we are studying; and we shall better understand this by reference to the preceding ages. The Elizabethan writers were led by patriotism, by enthusiasm, and, in general, by romantic emotions. They wrote in a natural style, without regard to rules; and
Though they exaggerated and used too many words, their works are delightful because of their vigor and freshness and fine feeling. In the following age patriotism had largely disappeared from politics and enthusiasm from literature.

   Major Writers: of neo-classical age
Alexander Pope:
His works: •The pastorals’• Essay on man, • Essay on criticism reflects his desire to rival Boil au’s art poetic. •The Rape of the Lock. ••• Steel and Addition: • The tattler in 1709 and the spectator in 1711.The spectator include representative of various section of society. The work Addition reveals at once the charm of the old England and the coming of the new

Jonathan swift:

Jonathan swift

Jonathan swift one of the best writer of the neo-classical age. An Excerpt from chapter 3 part 1 of Gulliver’s travels Gulliver’s travels Jonathan swift best fictional works, contain four part each about one particular voyage during which Gulliver has exeparticular

Adventures on some remote are land after he has met with ship week or piracy. Gulliver’s travels are also an artistic mast earpiece he fined that author of master of prose. Jonathan swift on of best a mother of neo-classical age and he wrote so many good novels.

Battle of the books• the first noteworthy book published in 1704, It is about the dispute between ancient and modern author. Swift gives the theme a half allegories mock heroic satire in which the books in a liberty at length.

Dr. Johnson: The produced two satire, London [1738] and The Vanity of Human Wishes. [1749] “Irene” is a tragedy in this work he observed the rules of French rhetorical tragedy.•“Rambler” and “Idler” are the results of his own personal reflection on the life.
• Oliver Goldsmith [1730- 74]
Traveler [1764] records his impressions, as a Traveler on foot across the continent of France, Switzerland and Italy and reflects agreeably on the character these various countries. In 1770 he published his “Deserted Village" an idealization of the Irish Village of lessor in which his childhood was passed.
v Conclusion:-

So this is the neo-classical age highly influence to Jonathan swift, alexander pope, olive goldsmith. And the age of classical, satire and age of prose. So first the first half of the eighteenth century is remarkable for the rapid social Development in England. Important age for English literature.. The middle and later stages of the

Eighteenth century shows a minor Renaissance that touched nearly all Europe.Theincrease in wealth and comfort coincided with general uplifting of the standard of the human intellect. In France particularly it was well marked, and it took for its sign and seal thelabours of the Encyclopedists and the social amenities of the older salons. Many of the leading English writers, including Gibbon, Hume, and Sterne, visited Paris, which was the hub of European culture.


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