Kanthapura as a Gandhian Epic

           Name: Vaishali Hareshbhai Jasoliya

           Roll No. : 29

Enrollment no.: PG14101019

Topic: Kanthapura as a Gandhian Epic

Paper No.: 4 Indian writing in English

Email-Id: jasoliyavaishali@gmail.com

Submitted to: MAHARAJA KRISHNAKUMARSINHJI            

                                     BHAVNAGAR UNIVERSITY

                                     DEPARTMENT OF ENGLISH

●Introduction:

                                    There were three Indian modern writer of classic. Their contribution in classic is very significant. Mulk Raj Anand, R.K. Narayan, Raja Rao those three person are great dramatist of the Indian Writing in English. In Indian literature we have many forms like Epic, Lyrics, Drama, Short stories and Fables but we should wit of Novel very long time.

Raja Rao

                        Raja Rao is most remarkable person of Indian writing in English in novel. A novelist and a short story writer, he too is a child of the forces let loose by the Gandhian Revolution as also of he steadying pulls of past tradition. “An epic is a long narrative poem and a great and serious subject related in an elevated style and centered on a heroic or quasidivine figure on whose action depend the fate or tribe a nation or the human race.”

                        Gandhi was no less than the hero of an epic. The freedom struggle of Indian was an epic struggle. Thousands of people sacrificed their lives. It was remain in the background through the novel; Gandhi is no doubt the hero of movement on a small village called Kanthapura. By reading the novel one get idea about the methods and principle of Gandhi. Moorthy and the others freedom fighters of Kanthapura are followers of Gandhi and use Gandhian methods in their struggle against the government. They followed the path of non- violence.

● Kanthapura as a Gandhian Epic:

                        Kanthapura is Raja Rao’s first major Indian novel in English. It is published in 1938; the novel deals with civil disobedience movement. The title of the novel is adopted by village Kanthapura. The title is apt and suitable for the novel is about a south Indian village named ‘KANTHAPURA’.  The story is narrated in flashback by ‘ACHAKKA’. Kanthapura does not exist but it is a imagination of Raja Rao’s mind. Kanthapura village is situated on the Western Ghats in the valley of Himmavath River.

● Village’s Contemporary situation:

(I) Social Background

(II) Religion Background

(III) Political Background

·        Social Background:

“I will not let anyone walk

Through my mind with their

Dirty feet.”

                        The novel has a dormant pattern to the treatment of castes and communities Kanthapura, a tiny village representative of any other village in south Indian. There were four divisions in caste...

(1) Brahmin

(2) Pariah

(3) Potter

(4) Weaver

There were conflict between castisicm and other issues, but finally all get together and helped each other for the struggle for independence.

● Religion Background:

                        “I like your Christ, I do not like

Your Christians, and your Christians

                        Are so unlike your Christ.”

·        Political Background:

In  ‘Kanthapura’ novel political ideas also be found, earlier, British ruled over Indian and then slowly and steadily education got reformation and Gandhian ideas started by Moorthy.

The Gandhian movement was brought to Kanthapura by Moorthy and the other city boy. He went from door to door to tell people about Gandhi and his views and principles. He distributed charkhas among the people of Kanthapura free of cost. He had contact with the city congress and charkhas were given to him by free of cost for distributing among the villagers. In the beginning, he found it difficult to convince the villagers to take the charkhas’ and start spinning cloth on a regular basis. Ultimately he was able to convince most of them but also for achieving political freedom; with tine more and more people joined congress. And now people of Kanthapura regarded Moorthy as the Gandhi of Kanthapura. Moorthy did not stop working for upliftment of the pariahs though swami had said to him that he would be excommunicated. But Moorthy did not take it seriously. Like Gandhi he also kept a fast for three days because he felt that he had not been able to live up to the ideas of the Mahatma. He held himself responsible for the skeffington coffee estate.

Mahatma Gandhi

      Moorthy was a follower of Gandhi and told the people of Kanthapura about the views and ideas of Gandhi. After the violence at the gate of skeffington coffee estate when Moorthy had tried to enter Estate, he kept the fast because he felt that he had not been able to live up to the ideas of the Mahatma. Moorthy actually tried to follow Mahatma’s doctrine loving one’s enemies. He really respected Gandhi.

“An eye for an eye will only make the whole world blind.”

This all are Gandhian ideas which Gandhi has used in his life and used into freedom fighting. Though Gandhiji is not present in the whole novel but only Gandhian ideas remain and can be found which were adopted by Moorthy. These ideas helped the people of Kanthapura to get freedom from Britishers. Moorthy sticks to above Gandhian Ideas and reforms the position of village including social, Religious, Political background.

The novel encompasses with Gandhian ideology and freedom struggle. The story of satyagrahis moved forward steadily till it reached to its climax. It was story of the people of a small village who realized that they need to rise and fight for the freedom of their motherland. They made efforts in this direction and they fail. They left Kanthapura and settled in Kashipura. As a result of the final clash between the freedom fighters and the soldiers many people died many were injured. After this clash, the whole village was set on fire and destroyed and many people were arrested. The remaining people left the village and never comeback.

During freedom movement as a leader or Gandhi of Kanthapura Moorthy told villagers about the elements that were taking place all over the country. Moorthy told them about important events like Dandy march. Here Mahatma Gandhi never appears on the scene but his presence was felt all the time through the novel. As in inspired by Gandhi’s Satyagraha.

● Conclusion:

                        At last we can say that, at first Gandhian ideology spread as a music in every nook and corner of the village Kanthapura and it directs people against British rulers. It is Kanthapura in which Raja Rao’s music for Gandhi achieves its perfection. And truly made it Gandhian novel or Gandhian Epic.

Critical analysis of She stoops to conquer with reference to anti-sentimental comedy

           Name: Vaishali Hareshbhai Jasoliya

           Roll No. : 29

Enrollment no.: PG14101019

Topic: Critical analysis of She Stoops to Conquer with reference to anti-

Sentimental comedy

Paper No.: 2

Email-Id: jasoliyavaishali@gmail.com

Submitted to: MAHARAJA KRISHNAKUMARSINHJI            

                                     BHAVNAGAR UNIVERSITY

                                     DEPARTMENT OF ENGLISH

Introduction:

                        When we discuss about the Anti-Sentimental comedy. First we clear the idea about, what is sentimental comedy? The sentimental comedy of 18^th century was, in fact, Reaction against the comedy of manners which had been vogue during the Restoration period. It appeals especially to our feelings of sorrow, pity; compassionate sympathy Anti-sentimental comedy is reaction against sentimental comedy.

 Anti-Sentimental comedy:

                        Anti-Sentimental comedy is reaction against sentimental comedy. The comedy of humor which Goldsmith and Sheridan cultivate in the 18^th century was the reaction against the sentimental comedy of Cibber, Steele, Kelly and Cumberland. Goldsmith opposed sentimental comedy because in place of: serious heroines and honest servants.

                        Anti-sentimental comedy is a kind of comedy representing complex and sophisticated code of behavior current in fashion circles of society. Passing of time the result of the Reaction of Goldsmith and Sheridan, the comedy of sentiment was driven out; their place was taken by humor and mirth, pleasant dialogues and Wit.

                        So, this way there is new and success output in anti-sentimental comedy, it takes old forms of comedy, comedy of manners, which is also called, generally for anti-sentimental comedy deals with the, and it’s always focus on major character as lover.

●Anti-Sentimental comedy:

(1).The Rivals

(2).The School for Scandal

(3).She stoops to Conquer

                        So, let’s discuss the Anti-sentimental comedy with critical analysis of She stoops to conquer…

●She stoops to conquer:

                        This wonderful comedy by a genius playwright, Oliver Goldsmith, in its time ran to a full playhouse for a long time; healding the era of laughing comedies and being contemporary to other plays. A well-Crafted play, Oliver Goldsmith’s she stoops to conquer weaves several strands of action. Although the story transpires in not much more than one night, the play is densely packed with activity. This of course accounts for the play’s subtitle, “Mistakes of a Night.”

                        Two of the play’s strands are of particular importance, both about bringing lovers together. These are two sets of lovers: one couple, Hastings and Constance Neville, have been in love for some time, but their hopes are thwarted by Mrs. Hardcastle’ insistence that Constance marry her son, Tony Lumpkin. The only recourse appears to be eloping, a scheme that Tony happily aids and abets. The other couple, Marlow and Kat Hardcastle, as a way of confirming their friendship. Here, the problem is the awkward shyness of the young Marlow upon meeting ladies. Knowing that the shyness evaporates when he confronts a woman of lower station, Kate literally “she stoops to conquer.” Both strands of the play are thus deftly resolved: the elopement becomes unnecessary once Tony is revealed to be of age and free to reject Constance, and the marriage of Kate and Marlow can take place, now that Marlow’s eyes are open to the truth.

                        All this might seem contrived were it not for the comic ironies and misunderstandings among the characters and the grace and wit with which Goldsmith portrays them. She stoops to conquer is very much a group play, as there is no protagonist in the usual sense. Tony provides most of the machinations that propel the plot. Kate brings Marlow to a crucial realization, and he suffers more than anyone from the mistaken identities and false assumptions.

                        Goldsmith died in 1774, one year after she stoops to conquer was first performed, thus leaving no other plays. Despite his position against sentimental comedy, she stoops to conquer has a gentle and amiable tone. It promotes the idea of honest humility and dose so with humane good humor        these values, too, are typical of the eighteenth century, which exalted feeling and intuition and grace in opposition to the serve rationalism of the previous century.

                        Goldsmith was haunted by poverty and was irritable and envious he also had a great wit, was generous and had an essentially lovable nature all of these contradictory characteristics are reflected in his writings. He did editorial work for booksellers, wrote essays and criticism, and gradually gained a modest reputation. The public ledger, 1760-1761, The Citizen of the world (1762 , a collection of fictional letters, brought him even more recognition  for their charm, grace ,humour,and good sense.

                        Johnson saw this first performance and remarked,“I know of no comedy for many years that has answered so much the great and of comedy making an audience merry.”One may well agree and say that one or two comedies of the time might be considered superior, but none is merrier. Certainly, it reflects Goldsmith’s own rich and genial personality.

●Summary:

                        The prologue is attributed to David Garrick,Sq.,and a popular actor of his day. The basic premise of the prologue is that the comic arts are passing away, and that Dr.Goldsmith might prove the doctor, andshe stoops to conquer the medicine that will cease its death.  All the play’s opining Mr. Wood ward enters and speaks apologue. Woodward, a celebrated actor of his day one more who had turned down the role of tony Lumpkin in the play’s initialproduction, is drying his eyes as though he has been crying. In verse , Woodward laments to the audience that “ the comic muse , long sick , is now a dying !” as an actor  trained in comedy , he intuits that his own career will  pass away  along with comedy itself , since he “ can as soon speak Greek as sentiments!” unable to tell moralistic , sentimental stories , he fears for the fate of himself and his brethren. He attempts to tell a moral poem beginning with “all is gold that glitters”, but performs poorly and stops himself. He offers one final hope for his problem – “a doctor this might ofmedium. Heurges the audience to accept the doctor’s comic medicine willingly, to laugh heartly, and stresses that should the doctor’s goal not be achieved, and then they can hold it against him and deny him his fee.

● Analysis:

                        Though not written by Goldsmith, the play’s prologue is useful in the way it provides insight into Goldsmith’s purpose in the play. Obviously, the most elicit purpose is to make the audience laugh. The speaker- Mr. Woodward, who would have been portrayed by a different actor-comes out in mourning, already having been crying, which in a way poses a challenge to the play. If we, as actors and audience, are in a state of sadness, can the play lift out spirits? However, most relevant is the state of affairs sculpted here. The prologue mirrors the trends in theater that writers like Goldsmith were desperately trying to change. At the time of she stoops to conquer, popular theater comedy termed “sentimental comedy” and “laughing comedy”. The former was concerned with bourgeois (middle-class) morality and with praising virtue. The latter, which dated back to the Greeks and Romans and through Shakespeare, was more willing to engage in “low” humor for the sake of mocking vice.

                        It’s worth reviewing the “about ‘An Essay on the theater “section this classic note that explains in more detail the context of the theater of the time, since it will provide an even more in-depth understanding of the purpose suggested in this prologue. But even without such extensive historical research, the prologue brings the audience in with a particular question: can this play remind us that true comedy, which is willing to be silly and unpretentious; is the most entertaining of all?

● Conclusion:

                        Anti-sentimental comedy this forms is becomes popular with the comedies that were presented by Oliver Goldsmith’s ‘she stoops to conquer’ it’s a kind of comedy representing complex and sophisticated code of behavior correct in fashionable circle of the society. The title of this novel refers to the “stooping down” of Kate Hardcastle from her position in high society to the position as a barmaid. She does this in order to test the feelings of Marlow, to make sure that he loves her for herself and not for her money. In the end, she gets what she wants, and proves a point. She learns that Marlow’s feelings are genuine and demonstrates that love is not controlled by social position. By “stooping down”, she conquered society.

                       

Literary Terms: All Kinds of Criticism

           Name: Vaishali Hareshbhai Jasoliya

           Roll No. : 29

Enrollment no.: PG14101019

Topic: Literary Terms:

            All Kinds of Criticism

Paper No.: 3

Email-Id: jasoliyavaishali@gmail.com

Submitted to: MAHARAJA KRISHNAKUMARSINHJI            

                                     BHAVNAGAR UNIVERSITY

                                     DEPARTMENT OF ENGLISH

◘ Criticism:

                        The word ‘criticism’ is derived from the Greek word kritikos and it means ‘Judgement’.It concerned with defining, classifying, analyzing, interpreting, and evaluating works of literature.

“Literary criticism is the evaluation of literary works. This includes the classification by genre analysis of structure and judgment of value.”

It means.....the art of judging and defining the qualities or merits of things, especially of a literary or artistic work. Its use is to get best understanding of the value of literature and proper pleasure of literature.

“Criticism is the play of the mind on the aesthetic qualities of literature, having for its object an interpretation of literary values.”

-         Atkins

“To avoid criticism say nothing, do nothing, be nothing.”

-         Aristotle

“Don’t criticize what you can’t understand.”

-         Bob Dylan

“Literary Criticism is the study, discussion, evaluation and interpretation of literature.”

            We search on piece of literature like the matter, the manner, the technique and language by the criticism.

◘Practical Criticism / Applied Criticism:

                        Practical criticism or applied criticism concerns itself with particular works and writers; in an applied critique, the theoretical principles controlling the analysis, interpretation, and evaluation are often left implicit, or brought in only as the occasion demands. Among the more influential works of applied criticism in England and America are the literary essays of Dryden in the Restoration; Dr. Johnson’s Lives of the English poets (1779-81); Coleridge’s chapters on the poetry of Wordsworth in Biographia Literaria (1817) and his lectures on Shakespeare; William Hazlitt’s lectures on Shakespeare and the English poets, in the second and third decades of the nineteenth century; Matthew Arnold’s Essays in Criticism (1865 and following); I.A.Richards’ Practical Criticism (1930);T.S.Eliot’s  Selected Essays(1932); and the many critical essays by Virginia Woolf,F.R.Leavis,and Lionel Trilling. Cleanth Brooks’ The Well Wrought Urn (1947) exemplifies the “close reading” of single texts which was the typical mode of practical criticism in the American New Criticism. For an example of practical criticism applied to a single poetic text, see Stanley Fish, Surprised by Sin: The Reader in Paradise Lost (2d ed., 1998).

                        In Practical criticism, a frequent distinction is made between impressionistic and judicial criticism:

◘ Impressionistic criticism:

                   Impressionistic criticism attempts to represent in words the felt qualities of a particular passage or work, and to express the responses (the “impression”) that the work directly evokes from the critic. As William Hazlitt put it in his essays “On Genius and Common Sense” (1824): “You decide from feeling, and not from reason; that is, from the impression of a number of things on the mind…though you may not be able to analyze or account for it in the several particulars.”And Walter Pater later said that in criticism “the first step toward seeing one’s object as it really is, is to know one’s own impression as it really is, to discriminate it, to realize it distinctly,” and posed as the basic question, “What is this song or picture…to me?.”At its extreme this mode of criticism becomes, in Anatole France’s phrase, “the adventures of a sensitive soul among masterpieces.”

◘ Mimetic criticism:

                   Mimetic criticism views the literary work as an imitation, or reflection, or representation of the world and human life, and the primary criterion applied to a work is the “truth” and “adequacy” of its representation to the matter that it represents, or should represent. This mode of criticism, which first appeared in Plato and (in a qualified way) in Aristotle, remains characteristic of modern theories of literary realism.

◘ Pragmatic criticism:

                   Pragmatic criticism views the work as something which is constructed in order to achieve certain effects on the audience (effects such as aesthetic pleasure, instruction, or kinds of emotion), and it tends to judge the value of the work according to its success in achieving that aim. This approach, which largely dominated literary discussion from the versified Art of poetry by the Roman Horace (first century BC) through the eighteenth century, has been revived in rhetorical criticism, which emphasizes the artistic strategies by which an author engages and influences the responses of readers to the matters represented in a literary work. The pragmatic approach has also been adopted by some structuralists who analyze a literary text as a systematic play of codes that produce the interpretative responses of a reader.

◘ Expressive criticism:

                   Expressive criticism treats a literary work primarily in relation to its author. It defines poetry as an expression, or overflow, or utterance of feelings, or as the product of the poet’s imagination operating on his or her perceptions, thoughts, and feelings; it tends to judge the work by its sincerity, or its adequacy to the poet’s individual vision or state of mind; and it often seeks in the work evidences of the particular temperament and experiences of the author who, deliberately or unconsciously, has revealed himself or herself in it. Such views were developed mainly by romantic critics in the early nineteenth century and remain current in our own time, especially in the writings of psychological and psychoanalytic critics and in critics of consciousness such as George Poulet and the Geneva School. For a reading of literary criticism itself as involving self expression, see Geoffrey Galt Harpham, The Character of Criticism, 2006.

◘ Objective criticism:

                   Objective criticism deals with a work of literature as something which stands free from what is often called an “extrinsic” relationship to the poet, or to the audience, or to the environing world. Instead it describes the literary product as a self-sufficient and autonomous object, or else as a world-in-itself, which is to be contemplated as its own end, and to be analyzed and judged solely by “intrinsic” criteria such as its complexity, coherence, equilibrium, integrity, and the interrelations of its component elements, the conception of the self-sufficiency of an aesthetic object was proposed in Kant’s Critique of Aesthetic Judgment (1790)-see distance and involvement- was taken up by proponents of art for art’s sake in the latter part of the nineteenth century, and has been elaborated in detailed modes of applied criticism by a number of important critics since the 1920s, including the New Critics Chicago School, and proponents of European formalism.

                   An essential critical enterprise that the ordinary reader takes for granted is to establish a valid text for a literary work; see the entry textual criticism. For a detailed discussion of the classification of traditional theories that is represented in this essay, see M.H.Abrams, The Mirror and the Lamp (1953).

Conclusion:

                   A good conclusion gives your literary criticism a sense of closure without boring your reader with a rehash of things you have already written. By using the concluding strategies below, you can wrap up your literary analysis in a way that is meaningful for both you and your reader. Because literary analysis is subject, you may find yourself arguing a point that other analysis may not agree with. If this is the case, you might want to qualify your perspective in the conclusion by including a statement about other known opinions and why your argument disproves the other. This will show that you have done your background research and have an answer for the critics of your own work.

 

            

Metaphysical poetry by John Donne

           Name: Vaishali Hareshbhai Jasoliya

           Roll No. : 29

Enrollment no.: PG14101019

Topic: Metaphysical poetry by John Donne

Paper No.: 1

Email-Id: jasoliyavaishali@gmail.com

Submitted to: MAHARAJA KRISHNAKUMARSINHJI            

                                     BHAVNAGAR UNIVERSITY

                                     DEPARTMENT OF ENGLISH

                         

Introduction:

                        The metaphysical poets is a term coined by the poet and critic Samual Johnson to describe a loose group of English lyrical poets of the 17^th century, whose work was characterized by the inventive use of conceits, and by speculation about topics such as love or riligion. These poets were not formally affiliated; most of them did not even know each other or read each other’s work. In the chapter on Abraham Cowley in his Lives of the Most Eminent English Poets, Samuel Johnson refers to the beginning of the seventeeth century in which there “appeared a race of writers that may be termed the metaphysical poets.” This does not necessarily imply that he intended metaphysical to be used in its true sense, in that he was probably referring to a witticism of John Dryden, who said of John Donne:

“He affects the metaphysics, not only in his satires, but in his amorous verses, where nature only should reign; and perplexes the minds of the fair sex with nice spaculations of philosophy, when he should engage their hearts, and entertain them with the softnesses of love. In this ....Mr. Cowley has copid him to a fault.”

Probably the only writer before Dryden to speak of a certain metaphysical school or group of metaphysical poets is Drummond of Hawthornden (1585-1649), who in one of his letters speaks of “metaphysical ideas and scholastical Quiddities.”

■ John Donne and the Beginning of the ‘Metaphysical’ Poetry:

John Donne

The last decade of the sixteenth century presents also, in the poems of John Donne, a new and very strange style of verse. Donne, born in 1573, possessed one of the keenest and most powerful intellects of the time, but his early manhood was largely wasted in dissipation, though he studied theology and low and seems to have seen military service. It was during this period that he wrote his love poems. Then, while living with his wife and children in uncertain dependence on noble patrons, he turned to religious poetry. At last he entered the church, became famous as one of the most eloquent preachers of the time, and through the favor of king James was rapidly promoted until he was made Dean of st.Paul’s cathedral. He died in 1631 after having furnished a striking instance of the fantastic morbidness of the period (post-Elizabethan) by having his picture painted as he stood wrapped in his shroud on a funeralurn.

The distinguishing general characteristic of Donne’s poetry is the remarkable combination of an aggressive intellectuality with the lyric form and spirit.Whether true poetry or mere intellectual cleverness is the predominant element may reasonably be questioned; but on many readers Donne’s verse exercises a unique attraction. Its definite peculiarities are outstanding:

(A)            John Donne and his followers made a conscious attempt to differ from the poets of the previous age The Elizabethan age.The metaphysicals made a conscious attempt to differ by displaying their learning and scholarship in their poems. They were highly learned and they tried to prove their learning through their poetry.So, it was logical and necessary for, the metaphysical to differ from the previous poets.

(B)             Almost all metaphysical poets made an attempt to display their learning by making use of far-fatched images and conciets; they didn’t depend upon easily available images. They brought their images from various  fields just like, science, engineering, architecture, geography, geometry, agriculture and many other fields.The poems like “Pully”, “The church Porch”, “To His Coy Mistress”, “The Sun rising” are some of the examples of far-fatched images and conciets. They made use of far-fatched images for the expression of faith in god. The use of such images makes their poetry difficult for the readers.

(C)             Dr. Samuel Johnson explains that their poetry stands a trial of their finger but not of the ear.The meaning is, all the metaphysicals are scholars in the writing of their poetry but there is no rhyme and rhythm in the metaphysical poetry they did not care for music so much as they eared for scholarship in the writting of their poems.

(D)            The metaphysical poetry created a new trend of writing poetry but even this trend did not continued for a long time. Robert southwell was the first poet in whose poetry metaphysicals elements were found, John Donne followed it and became the founder of The Metaphysical School, poets like George Herbert, Richard Creshaw, Abraham cowley, Andrew Marvell and others followered the metaphysical style but with the Restoration Charles II- second.

◘ Death be not proud (Holy Sonnet):

Death be not proud is one of Holy Sonnets written by John Donne. The present sonnet expreses Donne’s views upon this ultimate reality called death. Every person is generally afraid of death but Donne has altogather a different approach to death.The poet addreses to death saying that there is no need for death to be proud through some people call it very powerful and dangerous it is neither powerful nor dangerous, death believes that it over through people when they dies. But, in reality those people do not die at all. Death has no capacity to kill the poet Donne.This is how Donne challenges death.The picture of death is nothing but sleep and rest and soul one should derives pleasure out of death.The poet explain that the best of people have gone very soon with death and so there is no need for anyperson to be fear of death.

Death means rest to the bones and soul is delivered to a new body.Death itself is a slave of fate, chance, king and distress in life. When these factors deside death has to go to a person. There are three places where death lives forever.Those places are war, poison and sickness. Death should not believe that only it can cause sleep to a person. Even poppy and charms can caus sleep in a better way then death. Death causes sleep with one stroke where as poppy and charms cause sleep slowly and sweetly Donne concludes his sonnet saying that death need not became proud this life is a sleep in a sense that it is full of illusions, and we wake up forever. Donne belives that, if death is accepted with this spirit, there is no death at all.Death itself would die.

          ◘ Sweetest Love:

                   John Donne’s poem with the title song “Sweetest Love...” deals the theme of enternal love.The poem is addressed by a lover to his beloved in which he wants to convince his beloved that death can not separate him from her.

                   The poem opens with the lover’s confession that now the time has come for him to go-forever-not because he is tired of her or to find out a better person than her. He has to go forever because his death is very near to him. He would like to accept his death as a joke because whether he takes it lightly or seriously, he has to go.

The lover gives the example of the sun to convince her that going away is not forever. The way the sun sets previous evening comes back the next morning. He would like to come back to her.The sun has no sense or desire to comeback and yet it comes back. He has got the sense and desire to comeback and so he would comeback erliear than the sun.The lover assures her that his desire would work as the most powerful wings, and so he is confident to comeback.

                   The lover is aware of human existence and life.Man considers him self all powerful but in reality man is a very weak. It is not possible for man to add even a sigle hour more to his life. If he is passing through state of happiness man can not bring back and relive the part of life which is already lived by him.This reality of human existance can not shock the lover. He invites his badluck with confidence saying that let his bad luck come to him and stay as long as it wants to, but it can not cause pain to him, the reason is he is in the company of his beloved.

                   The lover request he beloved not to sigh and weep, because... when she sigh’s, hissoul comes out and when she weeps, the blood of his life comes out the lover requests her not to waste this life like this, otherwise her claim that she loves him would be wrong.The best part of lover’s self is in beloved and so, she should not waste his life, by weeping and sighing.

                   The lover concluded his address to his beloved saying that destiny will work in its own way.There is no need for the beloved to go very far in her thinking.If destiny fulfills her desire not to live for a long time, after his death, both should accept death as a helper which would allowe both to sleep side by side in their grave.Death has no capacity to separate them.This is how the lover desire solace. When he finds him very near to death.

                   The present song expresses Donne’s faith in love through addess of a lover to his beloved it shows the power of love and a miracle which love can perform.The miracle is those who love never dies.

◘The Dream:

                   John Donne’s Elegy-x, with the title “The Dream” is abuot a lover’s confession on his love for his beloved and the difference between dream and reality. The poem opens with a comparision between the lover’s heart and a coin the poet has used image of a coin for the expression of love. The way a coin is impressed with the image of a king his beloved.The way image of a king assigns value to a coin, her image affers honour and importence to his heart.

                   The lover says that only those who are weak in their spirit bother for honour because he believes that her image has givan honour to him.The lover going ahead in his confession mentions that when she goes away, his reasioning ends, and there begins the empire of Fantacy lover is of the opinion that fantacy can not give him the joy of that hight which her real presence can give the reason is joy given by fantacy is convenient and proportional her real arrival has the capacity of giving the joy of shokes also. If the lover dream, he would like to have the dream about her real presence and not just dreaming about her.The lover considers sleep a great escape from pain because sleep lokes the proccess of thinking. When the lover gets up after his sleep he wont’s repent for the end of dream. He woud like to write sonnets on his beloved instead of passing time in weeping for his beloved. He considers himself grown with her love he would like to be called made in her love rather than an idiot without love for anyone.

◘The Flea:

                   The killing of Flea has not damaged her life in the same manner her honour will not be decreas if she response positively to love of that lover. The lover wants to say that all her fears are false or groundless, both have already became one and yet it is not a sin & manner of shame or even the loss of mainhood. The same way if both meet and marry, there will not be sin, or shame or lost of mainhood.The lover wants to his beloved that to learn a lesson from that flea. By accepting his love her honour will intact.

                   We can say that, she kills the poor, innocent flea. She thinks this disproves the earlier claim that killing the flea would kill them both.But Donne, as always,  has a comeback ready the fact that she hasn’t suffered from the death of the flea in which their bloods were mixed means that “swapping fluids” isn’t so dangerous to her honour as she thinks. In straightforword terms, his points are: “You have nothing to fear from having sex with me.”

◘The Ecstacy:

                   The poem The Ecstacy is one of John Donne’s most popular poems, which expresses his unique and unconventional ideas about love. It expounds the theme that pure, spiritual or real love can exist only in the bond of souls established by the bodies. For Donne criticized the platonic lover who excludes the body and emphasizes the soul.The pair of lover and his beloved which we find in this poem has reached such a hight of love that both experience ecstacy of love.The poem is addressed by the lover who describes in detail the experience of ecstacy in love.

                   Both the lover and his beloved set for whole day on the bank of a river in the same manner as a bed is always in the company of a pillow. These two images in the very opening of the poem quality the present poem as a metaphysical poem, their hands are comented they have sat on the bank of a river hand in a hand though no words exchange between the two.Their four eyes become one and get tied up with an invisible thread. Both realise that there is an exchange of words between their sould though body doesn’t speak. The soul of both speak the same and listen the same and so, the lovers find it difficult to realise a what exactaly is exchanged, between the two.Both get the knowledge that it is not love of body for a body,it is love between two souls.

                   The state of ecstacy which the lover and his beloved experience here reflex John Donne’s knowledge about Indian philosophy and perticularly the Geeta. Donne, might be familiar with the philosophy of the Geeta.The Geeta explains in the very opening that “soul remains unaffected and nothing can harm soul fire can’t burn it, water can’t wet is and wind can’t dry it. It is eternal and inmortal Even the lover in this poem mentions that his soul would always remain unaffected and since it is the love between two souls, nothing would harm their love. seeing their love even those people who are weak would realise that love can have a hight where love becomes a devine experience both have come to a state when they became aware of the truththat body has no significance in love it is through soul that love is so to be expressed and not through body.

                   Their Ecstacy makes them aware of the truth that body is theirs but they are not body.It is here that the meeting paint takes place between the Geeta and spiritual love of the lovers.The lover considers such a devine experience as a favour of heaven tobe, God to be, he finds/ feels all forces, counter forces have surrender and so, divine experience of love is possible, The lover believes that there cannot be anything greater and higher in love to be achieved. It is this experience of ecstacy which lover accepts as the bliss of God almighty.

◙ Conclusion:

                   We can say that, now that you have explored and created your very own Metaphysical Poem, you can appreciate the powerful imagery that Metaphysics allows you to convey in your poetic masterpieces!

                   Metaphysical Poets created a new trend in history of English literature. These poems have been created in such a way that one must have enough knowledge to get the actual meaning. Metaphysical poets made use of everyday speech, intellectual analysis, and unique imagery.The creator of Metaphysical poetry John Donne along with his followers is successful not only in that period but also in the mordern age.