Assignment paper 103(Literature of the Romantics)

Assignment writing: Paper 103( Literature of the Romantics)

This blog is Assignment writing on paper 103(Literature of the Romantics) assigned by Professor, Dr. Dilip Barad sir, Head of the Department of Maharaja Krishnakumarsinhji Bhavnagar University.

Name: Nidhi Dave

Paper: Literature of the Romantics

Roll no: 16

Enrollment no:4069206420210005

Email ID: davenidhi05@gmail.com

Batch: 2021-23( M.A sem - 1)

Submitted to: Department of English Maharaja Krishnakumarsinhji Bhavnagar University.

🔅Imagery and Literary Elements In Frankenstein

👉Introduction of Frankenstein:

The novel, Frankenstein, previously titled The Modern Prometheus, was written by Mary Shelley. It was first published in 1818. It is known as the epitome of the science fiction of the early 19th century, and also it set the stage for scientific passion among the scientists with caution to shun the seamy side of experiments. The novel revolves around the story of a young scientist, Victor Frankenstein, who becomes the victim of his own creation, a monster. The monster later attempts to take his own life, before wreaking havoc in the life of the scientist, and his family. The unique feature of this story is that Miss Shelley started it when she turned 18 and finished at the age of 20.

Mary Shelley's Frankenstein is a 19th-century epistolary novel associated with both the Romantic and the Gothic genres. The novel, which follows a scientist named Frankenstein and the horrifying creature he creates, explores the pursuit of knowledge and its consequences, as well as the human desire for connection and community.

👉Imagery in Frankenstein

Imagery – the use of the rich and descriptive language – serves the purpose of making the reader feel as if the events of the novel happen to him personally. The depicted scenery always corresponds to the character’s emotions.

Shelley pays special attention to the description of nature because it most accurately reflects Frankenstein’s inner state. Writing about nature, the author utilizes a literary technique called personification. Rain, wind, rivers, mountains, and lakes are not just picturesque backgrounds but living beings with their own color, mood, and unique human characteristics.

• Psychological scenery
• The passage of time
• Bodily manifestations of emotions
• Sublime nature

⭐Psychological scenery

Particularly in Frankenstein's narration, the description of scenery often reflects his mental state at the time of the scene. Take, for example, the morning after he brought the monster to life and fled his home: "Morning, dismal and wet, at length dawned, and discovered to my sleepless and aching eyes the church of Ingolstadt, its white steeple and clock, which indicated the sixth hour. The porter opened the gates of the court, which had that night been my asylum, and I issued into the streets, pacing them with quick steps, as if I sought to avoid the wretch whom I feared every turning of the street would present to my view. I did not dare return to the apartment which I inhabited, but felt impelled to hurry on, although drenched by the rain which poured from a black and comfortless sky" (Volume I, Chapter 5). The loss of night's 'asylum' and the dismal, wet weather both echo Frankenstein's weariness and anxiety.

⭐The passage of time:

Imagery techniques are used to focalize the passage of time. This is what happens when Frankenstein returns home from university following the death of William, and gazes upon a portrait of his mother: "Six years had elapsed, passed as a dream but for one indelible trace, and I stood in the same place where I had last embraced my father before my departure for Ingolstadt. Beloved and venerable parent! He still remained to me. I gazed on the picture of my mother, which stood over the mantel-piece. It was an historical subject, painted at my father's desire, and represented Caroline Beaufort in an agony of despair, kneeling by the coffin of her dead father. Her garb was rustic, and her cheek pale; but there was an air of dignity and beauty, that hardly permitted the sentiment of pity" (Volume I, Chapter 7). The past-focused imagery functions as a link between Frankenstein's history and what he must cope with in the present.

⭐Bodily manifestations of emotions

Imagery and rich descriptive language bring the inner states of Frankenstein to life. Take, for instance, the moment after Justine was wrongly sentenced to death for the death of William, when Frankenstein is overcome by guilt for his own crime of creating the monster: "The blood flowed freely in my veins, but a weight of despair and remorse pressed on my heart, which nothing could remove. Sleep fled from my eyes; I wandered like an evil spirit, for I had committed deeds of mischief beyond description horrible, and more, much more (I persuaded myself), was yet behind" (Volume I, Chapter 9).

⭐Sublime nature

The backdrop of nature, particularly in the scene prior to Frankenstein's mountaintop encounter with his monster, subsumes human nature within the grander, terrifying scope of the universe. This has a somewhat humbling, soothing effect on Frankenstein, as he notes in the passage prior to his encounter with the monster; "I [roamed] through the valley. I stood beside the sources of the Arveiron, which take their rise in a glacier, that with slow pace is advancing down from the summit of the hills, to barricade the valley. The abrupt sides of vast mountains were before me; the icy wall of the glacier overhung me; a few shattered pines were scattered around; and the solemn silence of this glorious presence-chamber of imperial Nature was broken only by the brawling waves, or the fall of some vast fragment, the thunder sound of the avalanche, or the cracking reverberated along the mountains of the accumulated ice, which, through the silent working of immutable laws, was ever and anon rent and torn, as if it had been but a plaything in their hands. These sublime and magnificent scenes afforded me the greatest consolation that I was capable of receiving. They elevated me from all littleness of feeling; and although they did not remove my grief, they subdued and tranquillised it" (Volume I, Chapter 10).

👉Literary Elements in Frankenstein

Mary Shelley uses various literary devices in Frankenstein to help the reader make an intense and accurate perception of the narrative. Commonly, literary devices are understood as artistic structures and techniques that writers apply to beautify their works and emphasize their meanings.

Literary elements most often used in Frankenstein – setting, imagery, allusions, symbolism, and personification – help the reader to immerse into the gloomy atmosphere of Frankenstein’s time and live thought character’s experiences.

In some ways, the novel is a bildungsroman, which is a narrative about growth. Perhaps even more specifically, the novel could be considered a kunstlerroman, which translates to 'artist novel.' In a sense, Victor's story follows the growth of an artist. When he stitches together parts of dead bodies and brings the whole creation to life, it is a sort of metaphor for an artist's work--or even more specifically an author of literature, who puts together words and endows them with meaning. Food for thought.

Let's explore some more specific examples of literary elements in the novel.

⭐Heroes and Villains

We should also focus on the concept of protagonist and antagonist, or rather the roles of hero and villain. It is perhaps customary to think of Victor as the novel's hero; he is the central character, and we root for him to succeed.

With that in mind, we usually consider the creature that he creates as the villain. After all, the creature does go on a murderous rampage, picking off Victor's friends and family. 'I too can create desolation,' the creature reflects: 'my enemy is not invulnerable; this death will carry despair to him, and a thousand other miseries shall torment and destroy him.' Indeed, the creature has become a monster in our culture, part of the Halloween dress-up game alongside vampires and mummies.

But Shelley muddles these categories. The creature is often heroic, and Victor is often villainous. When the creature tells his personal and emotional story, he becomes the protagonist of the novel, and readers care about his struggles. And when Victor tears to pieces the creature's incomplete mate, he exhibits his own sort of violence and blood lust. Thus, both characters are hard to define, and each might be considered as an 'anti-hero.

⭐The Novel's Frame Structure

A frame narrative occurs when one narrative introduces another narrative (and so on). The technique has been around since at least the Arabian Nights, in which a young bride, Scheherazade, avoids death at the hands of the murderous king Shahryar by telling a series of stories. In Frankenstein, Shelley borrows from this rich formal tradition by setting up a series of narratives that introduce one another.

⭐Narrator and Point of View

There are three levels of first-person limited narration, with each successive level embedded in the immediately prior level. The first level is R. Walton, writing to his sister; the second is Frankenstein, speaking to Walton; the third is the monster, speaking to Frankenstein.

⭐Tone and Mood

Because the horrific events of the story are conveyed as retrospection, the tone oscillates between remorse/anger on the part of the narrator, and suspense on the part of the reader for not having total knowledge of the events that will unfold, in spite of the narrator foreshadowing them.

⭐Protagonist and Antagonist

The major protagonist is Frankenstein, and the major antagonist is his monster.

⭐Major Conflict

Most of the conflict in the story can be read as a struggle of will between Frankenstein and his monster. The monster wants Frankenstein to make him a mate, and Frankenstein believes that he must destroy the monster in order to end the monster's destructive rampage.

⭐Paradox

One of the primary threads in the book is that the scientific progress purported by Frankenstein actually effects pain and destruction, and might ultimately be socially regressive. Such a notion of 'progress' is paradoxical.

⭐Personification

Nature as a force is often personified in the text. An example of this is when Frankenstein travels through the countryside following the execution of Justine: "The abrupt sides of vast mountains were before me; the icy wall of the glacier overhung me; a few shattered pines were scattered around; and the solemn silence of this glorious presence-chamber of imperial Nature was broken only by the brawling waves, or the fall of some vast fragment, the thunder sound of the avalanche, or the cracking reverberated along the mountains of the accumulated ice, which, through the silent working of immutable laws, was ever and anon rent and torn, as if it had been but a plaything in their hands" (Volume I, Chapter 10).

Words Count: 1,704

Reference:

• https://www.gradesaver.com/frankenstein/study-guide/literary-elements

• https://literarydevices.net/frankenstein/

Assignment: paper 102 (. Literature of the Neo - Classical Period)

Assignment writing: Paper no 102 (Literature of the Neo - Classical Period)

This blog is Assignment writing on paper 102 ( Literature of the Neo - classical period) assigned by Professor, Dr. Dilip Barad sir, Head of the English Department of Maharaja Krishnakumarsinhji Bhavnagar University.

Name: Nidhi Dave

Paper: Neo - Classical Period

Roll no: 16

Enrollment no: 4069206420210005

Email ID: davenidhi05@gmail.com

Batch: 2021- 23( M.A. Sem - 1)

Submitted to: Department of English, Maharaja Krishnakumarsinhji Bhavnagar University.

👉A Tale of a Tub as Satire

 

Jonathan Swift's Tale of the Tub is a brilliant failure. It is a prose satire intended as a defence of the Anglican church, but it was widely interpreted by contemporary readers as an attack on all religion. At the time of writing it, Swift was a junior Anglican clergyman hoping for substantial preferment in the Church. The appearance of the Tale, and its assumed message, was a serious obstacle to his promotion.

A Tale of a Tub was the first major work written by Jonathan Swift, composed between 1694 and 1697 and published in 1704. It is probably his most difficult satire, and possibly his most masterful. The Tale is a prose parody which is divided up into sections of " digression" and "tale." The "tale" presents a consistent satire of religious excess, while the digressions are a series of parodies of contemporary writing in literature, politics, theology, Biblical exegesis, and medicine. The overarching parody is of enthusiasm, pride, and credulity.A Tale of a Tub was the book that launched Jonathan Swift on his career as a satirist, paving the way for better-known works such as Gulliver's Travels (1726) and "A Modest Proposal" (1729).

👉 In satire, authors critique social issues using literary strategies:

📌 Sarcasm 

📌Hyperbole

📌 Extended

📌Symbolism

📌Humor

➡️Sarcasm communicates contempt for the subject at hand. As a result, readers must often reverse the author's words to determine meaning. In A Tale of a Tub, the narrator expresses great admiration for the brothers' ingenuity in getting around their father's wishes. This admiration is insincere, however. The narrator sarcastically mocks their foolishness in trying to find loopholes to God's revealed will.

➡️Hyperbole radically exaggerates existing situations to show innate ridiculousness or weakness. The narrator uses hyperbole throughout his tale, describing preachers so fiery that they can light their own way home at night and so full of wind that they puff up like balloons.

➡️Extended analogies indirectly draw attention to flawed situations. The narrator uses this technique when he likens the Bible to the will of a father who knows what is best for his children but who is overruled or ignored by his selfish heirs.

➡️Symbolism indirectly represents social, religious, and political issues. This strategy allows satirists to protect themselves with indirection from backlash, especially if they are criticizing powerful institutions. It may also make their critiques more universal. The narrator uses the overarching symbol of a set of coats to describe Christianity and show the many "alterations" it has undergone. Although his critique applies specifically to the extremes of Catholicism and Dissent, the symbolism in A Tale of a Tub is general enough to apply to any deeply entrenched institution and any (over)zealous group of reformers.

➡️Humor criticizes society to stimulate thought and action. The narrator's caricatures of Peter and Jack (Catholicism and Dissent, respectively) are broadly comical, and the effect is heightened by the characters' self-righteousness. Peter proclaims himself emperor and does not realise that most people are mocking his title and not respecting it. Jack's belligerent preaching and disheveled appearance lead listeners to think he has gone mad.

👉Parody and Allegory

addition to the 'digressions' that form a satire on modern learning and print culture, A Tale of a Tub's more obvious satire is that on abuses in religion. The satire works through the allegory of the three brothers: Martin, Peter, and Jack. Martin symbolizes the Anglican Church (from Martin Luther); Peter symbolizes the Roman Catholic Church; and Jack (from John Calvin) symbolizes the Dissenters. Their father leaves each brother a coat as a legacy, with strict orders that the coats are on no account to be altered. The sons gradually disobey his injunction, finding excuses for adding shoulder knots or gold lace, according to the prevailing fashion. Martin and Jack quarrel with the arrogant Peter (the Reformation), and then with each other (the split between Anglicanism and Puritanism), and then separate. As we might expect, Martin is by far the most moderate of the three, and his speech in section six is by the sanest thing anyone has to say in the Tale.

Both parody and allegory work by implicitly, or explicitly, comparing one sort of book with another. As a broad generalisation, they are concerned with intertextual relationships, and how you can use one text to invoke or critique another. But the distinction is that allegory teaches its readers to see beyond appearance to recognise truth, while parody teaches its readers to see beyond appearance to recognise error.

👉Nature of the Satire

Swift's targets in the Tale included indexers, note-makers, and, above all, people who saw "dark matter" in books. He attacks criticism generally, and he appeared to be delighted by the fact that one of his enemies, William Wotton, had offered to explain the Tale in an "answer" to the book and that one of the men he had explicitly attacked, Curll, had offered to explain the book to the public. In the fifth edition of the book in 1705, Swift provided an apparatus to the work that incorporated Wotton's explanations and Swift's narrator's own notes as well. The notes appear to occasionally provide genuine information and just as often to mislead, and William Wotton's name, a defender of the Moderns, was appended to a number of notes. This allows Swift to make the commentary part of the satire itself, as well as to elevate his narrator to the level of self-critic.

It is hard to say what the Tale's satire is about, since it is about any number of things. It is most consistent in attacking misreading of all sorts. Both in the narrative sections and the digressions, the single human flaw that underlies all the follies Swift attacks is over-figurative and reading, both of the Bible and of poetry and political prose. The narrator is seeking hidden knowledge, mechanical operations of things spiritual, spiritual qualities to thongs physical, and alternate readings of everythin 

Within the "tale" sections of the book, Peter, Martin, and Jack fall into bad company (becoming the official religion of the Roman empire) and begin altering their coats (faith) by adding ornaments. They then begin relying on Peter to be the arbitrator of the will, and he begins to rule by authority (he remembered the handyman saying that he once heard the father say that it was alright to put on more ornaments), until such a time that Jack rebels against the rule of Peter. Jack begins to read the will (the Bible) overly literally. He rips the coat to shreds to try to restore the original state of the garment (equivalent of the "primitive Christianity" sought by dissenters). He begins to rely only upon "inner illumination" for guidance and thus walks around with his eyes closed, after swallowing candle snuffs. Eventually, Peter and Jack begin to resemble one another, and only Martin is left with a coat that is at all like the original.

An important factor in the reception of Swift's work is that the narrator of the work is an extremist in every direction. Consequently, he can no more construct a sound allegory than he can finish his digressions without losing control (eventually confessing that he is insane). For a Church of England reader, the allegory of the brothers provides small comfort. Martin has a corrupted faith, one full of holes and still with ornaments on it. His only virtue is that he avoids the excesses of his brothers, but the original faith is lost to him. Readers of the Tale have picked up on this unsatisfactory resolution to both "parts" of the book, and A Tale of a Tub has often been offered up as evidence of Swift's misanthropy.

Additionally, Swift's satire is relatively unique in that he offers no resolutions. While he ridicules any number of foolish habits, he never offers the reader a positive set of values to embrace. While this type of satire became more common as people imitated Swift, later, Swift is quite unusual in offering the readers no way out. He does not persuade to any position, but he does persuade readers from an assortment of positions. This is one of the qualities that has made the Tale Swift's least read major work.

The "tale" presents a consistent satire of religious excess, while the digressions are a series of parodies of contemporary writing in literature, politics, theology, Biblical exegesis, and medicine. The overarching parody is of enthusiasm, pride, and credulity. At the time it was written, politics and religion were still closely linked in England, and the religious and political aspects of the satire can often hardly be separated. "The work made Swift notorious, and was widely misunderstood, especially by Queen Anne herself who mistook its purpose for profanity." It "effectively disbarred its author from proper preferment within the church", but is considered one of Swift's best allegories, even by himself. It was enormously popular, but Swift believed it damaged his prospect of advancement in the Church of England.

Words Count: 1,500

Reference:

https://writersinspire.org/content/jonathan-swift-tale-tub

https://www.cs.mcgill.ca/~rwest/wikispeedia/wpcd/wp/a/A_Tale_of_a_Tub.htm

https://docs.google.com/document/d/1TgPPTiqxxN6E6Ajj_wsbaN_n4Zztvu4ScigcVaL5nBs/edit?usp=drivesdk

Assignment: Paper 101(Literature of the Elizabethan and Restoration Periods)

Assignment Writing: Paper-101( Literature of the Elizabethan and Restoration Periods)

This blog is Assignment writing on paper no-101( Literature of the Elizabethan and Restoration Periods) assigned by Professor Dr. Dilip Barad sir, Head of the English Department of Maharaja Krishnakumarsinhji Bhavnagar University.

Name: Nidhi Dave

Paper: Literature of the Elizabethan and Restoration Periods

Roll no: 16

Enrollment no: 4069206420210005

Email ID: davenidhi05@gmail.com

Batch: 2021-23 (MA Semester - 1)

Submitted to: S. B. Gardi Department of English,Maharaja Krishnakumarsinhji Bhavnagar University

👉John Donne as metaphysical poet

“In ornament we can say that he is the man who established his poetic style and that’s why he is called a ‘metaphysical poet’.”

Actually the growth and power, loosely it has  such meaning as these difficult, obscure, philosophical, ethereal, involved supercilious, ingenious, fantastic and incongruous.

In metaphysical poetry, if someone’s name is alive even today then it is of John Donne. Everyone knows that John Donne is a metaphysical poet because every element of metaphysical poetry exists in his poems. Every critic appreciated the contribution of John Donne in metaphysical poetry. He was the one who created a new kind of poetry in those days when everyone was following the tradition. Donne’s poetry is remarkable but only metaphysics does not make it remarkable. There are certainly other elements, which are there in his poetry and make John Donne famous among other metaphysical poets of his era. Ben Jonson also belonged to the metaphysical school of poetry yet his name comes after John Donne.

👉Introduction:

             John Donne is the leader and founder of the Metaphysical school of poetry. His poetry is a revolt against the popular current. First of all Dryden used the term ' Metaphysical' for Donne's poetry. He said,' Donne affects metaphysics'. Later on Dr. Johnson called Donne and his followers 'The metaphysical poets'. Since then the word metaphysical has been used for Donne and his followers.

👉John Donne: An English Poet:

John Donne was an English poet, a soldier, and a scholar. He was born on January 22, 1572, in London. His family was recusant Roman Catholic, and at that time, that religion was illegal in the UK. His father’s name was the same as his. Donne received his early education privately. He joined Hertford College, Oxford at 11. He couldn’t get a degree from these institutions because of his religion.Donne began questioning his faith after the death of his brother in prison due to protecting a Catholic priest.He became secretary of Lord Keeper of the Great Seal, but lost his post when he married his niece of Sir Thomas Egerton secretly.

He had twelve children of which five died. His life circumstances were bad and he considered suicide but wrote Biathanatos, in his defence of not committing suicide. His wife died in 1617 after giving birth to a stillborn child. He wrote about loss of his love in his 17th Holy Sonnet.Cambridge University gave Donne an honorary doctorate in divinity in 1615. In 1623, he faced an almost fatal illness and wrote many meditations and prayers for health and sickness. He delivered his famous sermon Death’s Duel before King Charles I, at the Palace of Whitehall in February 1631. John Donne died on March 31, 1631 and was buried at St Paul’s Cathedral in London where he was a dean. John Donne was the most prominent of the metaphysical poets of the 17th century. 

👉 What is Metaphysical Poetry?

It is also in our knowledge that “meta” means beyond and “physics” means physical nature. In simple words, metaphysical poetry is that in which a poet remains away from the description of physical intimacy. We hardly see any poem by John Donne, in which he talks about the physical beauty of any woman. In his “Love Poems”, he demonstrates his feelings and emotion by using precise and exact words yet he has never praised any woman’s physical beauty. Moreover, this kind of poetry is away from imagination. Like John Keats, he does not create a world of his own in his mind; instead, he puts reality in front of his readers; nevertheless, his metaphors are far-fetched and complex in nature. Furthermore, there are some elements of metaphysical poetry, which are frequent in every poem of Donne. Following are some attributes, which make John Donne a good metaphysical poet. 

The term in the metaphysical or metaphysics in the poetry is the fruit of the renaissance tree, becoming over ripe and approaching pure science. The term metaphysical can be interpreted as; beyond=Meta, physical nature=physical. The word metaphysical has been defined by various writers. R.S. Hillyer writes,

“Literally it has to do with the conception of existence

With the living universe and man’s place therein.”

Actually the growth and power, loosely it has taken such meaning as these difficult, obscure, philosophical, ethereal, involved supercilious, ingenious, fantastic and incongruous.

👉John Donne as Metaphysical Poet:

John Donne, indeed, is a metaphysical poet but many critics doubt it. It is because Donne’s poetry is limited to emotions, whereas in conventional terms, metaphysical poems are long and poetry of metaphysics is about the philosophical system of the universe. Donne’s poetry is personal in nature; there is no philosophy in it; if it has any philosophy then it is only of love. On the other hand, many critics defended John Donne. For instance, Grierson points out:-

“Donne is metaphysical not only by virtue of his scholasticism but by his deep reflective interest in the experiences of which his poetry is the expression, the new psychological curiosity with which he writes of love and religion.”

                                       Grierson

In his eyes, John Donne has created a new kind of metaphysical poetry, which has psychological curiosity and it is based on personal experiences. Thereby, he considers John Donne a metaphysical poet.

👉Characteristics of John Donne’s poetry

John Donne’s poetry is metaphysical because of uniqueness in his poetry and his search for questions.Wit is dominant in his poetry, and it is vague and makes use of improbable conceits.Let us look at the unique and interesting characteristics of Donne’s poetry.

🖋️ Unique

🖋️Vagueness

🖋️Wit

🖋️Conceit

🖋️Maxims

👉John Donne’s Metaphysical poetry

📌 The Sun rising

📌   The Flea

📌  Death, be not proud

📌  The Dream

📌   The Ecstasy 

👉Major Theme: John Donne's Poems

📌Paradoxes

📌Belittling cosmic forces

📌Religion 

📌Death and the Hereafter 

📌Love as both physical and spiritual

📌Interconnectedness of humanity

📌 Fidelity

Now, let us analyze his poems step by step,

⭐The Flea

     In the very first line of ‘The Flea,’ the poet-lover asks his beloved to observe the flea carefully. She should notice that first, it sucked his blood and then hers, and in this way, their blood mingles in its body, as they do in sexual intercourse. The flea has enjoyed union with her, without any courtship or marriage. Yet this is not considered any loss of honour; there is neither any sin, nor shame, nor loss of virginity in it. In this respect, the flea is superior to them. She can do, i.e. enjoy the pleasure of physical union, which the lovers cannot enjoy prior to marriage.

📌Analysis of this poem:

The speaker tells his beloved to took at the flea before them and to note "how little" that thing she denies him. For the flea, he says, has sucked first his blood,then her blood,so that now, inside the flea, they are mingled; and that mingling cannot be called "sin, or loss of maidenhead". The flea has joined them together in a way that, " alas, is more than we would do."

"Cruel and sudden, hast thou since

Purpled thy nail, in blood of innocence?"

As his beloved moves to kill the flea, the speaker says her hand, asking her to spare the three lives in the flea: his life, her life and the flea' s own life. In the flea, he says, where their blood is mingled, they are almost married no, more than married and the flea is their marriage bed and marriage temple mixed into one. Though their parents grudge their romance and though she will not make love him, they are nevertheless United and cloistered in the living walls of the flea.she is apt to kill him,he says, but he asks that she not kill herself by killing the flea that contains her blood; he says that to kill the flea would be sacrilege, "three sins in killing three." "Cruel and sudden," the speaker calls his lover, who has now killed the flea, "purpling" her fingernail with the "blood of innocence." The speaker asks his lover what the flea's sin was, other than having sucked from each of them a drop of blood. He says that his lover replies that neither of them is less noble for having killed the flea. It is true, he says and it is this very fact that proves that her fears are false: If she where to sleep with him, she would lose no more honor than she lost when she killed the flea.

⭐Death, Be Not Proud

The present Holy sonnet 10 of John Donne deals with the theme of ‘Death’. Death is an inevitable truth of life, one who is born is bound to doe. The poet reduces fear of death in the preset sonnet. The speaker tells Death that it should not feel proud, for though some have called it “mighty and dreadful,” it is not. Those whom Death thinks it kills do not truly die, nor, the speaker says, “can’s thou kill me.”

📌Analysis of this poem:

    “Sleep is a temporary death and,

 Death is a permanent sleep”

The speaker tells Death that is should not be feel proud, for though some have called it "mighty and dreadful," it is not. Those whom Death thinks it kills do not truly die, nor, the speaker says, "can't thou kill me." Rest and sleep are like little copies of Death, and they are pleasurable; thus, the speaker reasons, Death, to rest their bones and enjoy the delivery of their souls. Death, the speaker claims, is a slave to "fate, chance, kings, and deseperate men," and is forced to dwell with war, poison and sickness. The speaker says that poppies and magic charm can make men sleep as merely a short sleep, after which the dead awake into eternal life, where Death shall no longer exists: Death itself will die.

⭐Elegy X: The Dreame

This is a good example of Donne's more erotic poems. It is playful in the sense that we have a short of verbal foreplay situation: playful, but with a serious desire for sexual union afterwards. The poem teases us, too,as readers: is the poet going to get his wish? Or will he have to go to sleep again and just dream he is making love to his lady?

The poem plays with ideas of truth, sexual desire and dreams. He is clearly having an erotic dream when his lady friend wakes him for some reason. Is she going, or is she coming? If the latter, then 'My Dream thou brok'st not, but continued'st it.' In other words, she can 'make dreams truths', so she is a true lover.

📌Analysis of this poem:

"Dearest, for nothing worth less than you

Would I have woken up from this dream;

For reality was stronger than fantasy."

The speaker or the poet was deep in a dream when he was woken up by his lady love. He states that he is happy his dream was broken by her because he was dreaming about her and now that ‘fantasy’ could be made into a reality, now that she was there. So it was a wise thing that she broke his dream. His lady love was so pure and true that mere thoughts of her were enough to make dreams true and ‘fables histories’. He invites her to embrace him and continue where she left off in his dream.

Donne now compares her to light as in lighting and as in candle light.She knew what he was dreaming and woke him up just as he was about to indulge in excess joy. He says it would be irreverent if he did not see her as someone divine.

"As lighting, or the light of a candle,

Your eyes, and not your noise woke me;"

In the third stanza he is a little disappointed because she came only to leave immediately. She did not stay to fulfil his desires. He feels like her love is weak and therefore she fears him and is about to leave. He had called her pure in the earlier stanza but now doubts it. She is filled with ‘fear, shame, honour’. He compares her to a torch which is lighted just to be tested and then put off. She had dealt with him like that; came to kindle him with excitement and then left leaving him totally dampened in spirit. Now all that he can do is to dream again.

👉Conclusion

John Donne without any doubt is a metaphysical poet. Nevertheless, his poetry is different from other metaphysical poets of his era. He uses conceits; his remarks are witty; there is no artificiality in his poems; his demonstration is fresh and original. In fact, he only presents his emotions and personal experiences of his life. All these elements make his poetry remarkable and him best metaphysical poet of every era. By

Words Count: 2,152

Sources: 

https://www.englitmail.com/2017/11/john-donne-as-metaphysical-poet-dr.html?m=1

https://literaryenglish.com/john-donne-as-a-metaphysical-poet/

http://askliterature.com/poetry/john-donne/john-donne-as-a-metaphysical-poet/

importance of being Earnest

Thinking Activity

"Importance of Being Earnest" by Oscar Wilde

     

The Importance of Being Earnest, A Trivial Comedy for Serious People is a play by Oscar Wilde. First performed on 14 February 1895 at the St James's Theatre in London, it is a farcical comedy in which the protagonists maintain fictitious personae to escape burdensome social obligations.

Q-1,Wilde originally subtitled The Importance of Being Earnest “A Serious Comedy for Trivial People” but changed that to “A Trivial Comedy for Serious People.” What is the difference between the two subtitles?

What is the meaning of the title The Importance of Being Earnest?

The meaning of the title The Importance of Being Earnest is that there is something valuable in being earnest, or honest. This title is ironic, however, because the characters in the play are actually not honest. In the end, Jack remarks, "now I know the vital importance of being earnest," but in reality, he has lied, and his lies simply happened to turn out to be true statements.The full title of the play is The Importance of Being Earnest, A Trivial Comedy for Serious People. Wilde told Robert Ross that its theme was the idea:

That we should treat all trivial things in life very seriously, and all serious things of life with a sincere...

A serious Comedy for Trivial people:

Wilde seems to have been toying with audiences by giving the play a title with more than one meaning. The play’s title can be deceptive. Rather than a form of the name Ernest, the title implies earnestness as a quality one should seek to acquire, as in being honest, sincere, sober, and serious. Throughout the play, Ernest is a name that encompasses qualities of the ideal man: deeply trustworthy, truly loving, honorable and passionate, and absolutely sincere. Gwendolyn says, “We live in an age of ideals . . . and my ideal has always been to love some one of the name of Ernest. . . . The only really safe name is Ernest.” That both Gwendolyn and Cecily dream of marrying a man named Ernest seems more than a coincidence. Cecily admits, “It had always been a girlish dream of mine to love some one whose name was Ernest. There is something in that name that seems to inspire absolute confidence.”Indeed, there is almost a worship of the name more than what it represents. “It is a divine name. It has a music of its own,” explains Gwendolyn. “It produces vibrations.” And Cecily describes the man she thinks to be named Ernest as “the very soul of truth and honour. Disloyalty would be as impossible to him as deception.” So, what’s in a name? Would a rose by any other name, as Shakespeare asserts, smell as sweet? Ab solutely not, unless that name were Ernest, according to Oscar Wilde’s portrayal of shallow, yet charming, Victorian women.

Within the context of the play, add confidence, safety, and gravity to the ideal man named Ernest. But audiences are left to wonder if Wilde meant to use “Earnest” and “Ernest” interchangeably. After all, one is a description and the other is a man’s name. No, Wilde reminds viewers that to be earnest is more important that to be named Ernest. The social deceptions of Victorian England were rampant, and Wilde simply wished to call things as he saw them. One way he did this was through double entendre; however, his use of aphorisms went further in exposing the widespread use of deception among the gentry.

Wilde peppered the play with aphorisms, those pithy witticisms that purportedly derive from exalted thought. Indeed, the playwright spoke in aphorisms on his deathbed when he stated through fevers, “My wallpaper and I are fighting a duel to the death. One or the other of us has to go.” The following quotes from The Importance of Being Earnest exemplify Wilde’s adept use of aphorisms:

“Ignorance is like a delicate exotic fruit; touch it and the bloom is gone. The whole theory of modern education is radically unsound. Fortunately in England, at any rate, education produces no effect whatsoever” (Act 1).

“No married man is ever attractive except to his wife” (Act 2).

“Divorces are made in Heaven” (Act 2)

Wilde mingled truth and humor using tongue-in-cheek and witty repartee, both of which fit beautifully into farce. And his adept use of truth in jest makes The Importance of Being Earnest a perennial favorite of Western theatre audiences and literary critics. The following quotes by characters in The Importance of Being Earnest reveal Oscar Wilde’s clever wit in holding the mirror up to reveal truth and human nature:

“The truth is rarely pure and never simple. Modern life would be very tedious if it were either, and modern literature a complete impossibility!” (Algernon).

“In matters of grave importance style, not sincerity is the vital thing” (Gwendolyn).

“Never speak disrespectfully of Society, Algernon. Only those who can’t get into it do that” (Jack).

The Importance of Being Earnest Trivial Comedy for Serious People:

The play The Importance of Being Earnest has been called by its author “a trivial comedy of serious people”. This is, of course a witty and paradoxical description of the play. Serious people cannot be interested in a comedy. Serious people would be interested in serious matters and not in things which appeal to the comic sense. Again a comedy which derives its whole value form the originality and the brilliance of its wit cannot be called trivial. The word trivial has been used either form a feeling of modesty on the author’s part or in an ironical sense. 

When the play is meant for serious people, perhaps the author expected that even serious people will laugh because of its wit. Perhaps the author is inspiring the serious people to witness the play on the stage so that they may derive from it some food for serious thought. Wilde poses here as a trifle who is capable of thinking and there is often a wonderful suggestiveness in his lightest banter and wildest paradox. For examples, the excessive consumption of wine by servants at parities at Algernon’s voices a well established face that, strictly speaking, romance ends when a proposal of marriage has been accepted, and accepted readily, Besides, the portrayal of Lady Bracknell is an indirect attack on social snobbery and class consciousness. 

The subtitle to The Importance of Being Earnest is ‘A Trivial Comedy for Serious People’. This is an appropriate subtitle as the play deals with a great deal of triviality and nonsense throughout the play. Wilde seeks to mock many aspects of Victorian society in this play. He is parodying the normal views of people in the Victorian era, as they focus more on very minor and unimportant things, highlighting their superficiality. Wilde wanted to make people more aware of the more important things in life, which he does by parodying the Victorian society’s views and ideals such as things like religion and marriage. Religion and marriage are usually two things that are held in very high regards by others, but by mocking them, Wilde is making people aware of how nonsensical they are acting and how stupid they look at times. This is done by the clever usage of epigrams, paradoxes, irony and sarcasm.

The Importance of Being Earnest-" A trivial comedy for serious people" What aspects of late Victorian Society does Oscar Wilde seek to mock and trivialise? Oscar Wilde accepts Victorian values however he seeks to mock and trivialise the late Victorian society in his play- The Importance of Being Earnest. He described the play as exquisitely trivial, and therefore gave it the subtitle- "A trivial comedy for serious people". His intentions were to make people think more deeply and make them more aware of the serious things in life, which should be treated with sincerity, and the trivial things with seriousness.Thus the play is constructal on the strength of pun and the plot towns on a misconception over the name ‘Ernest’. The theme is an attack on earnestness, that is, the Victorian priggishness, hypocrisy and false sense of class-consciousness.

Words :- 1350

The Rover

Thinking Activity

"The Rover" by Aphra Behn

The Rover, published and first produced in 1677, was Aphra Behn’s most successful play. The original full title, The Rover; or, The Banish ‘d Cavaliers, indicates that the play was a tribute to the formerly exiled cavalier and newly reinstated king, Charles II. The Rover is a dark comedy that mixes themes of prostitution and rape with comic buffoonery. The play expresses its author’s objections to the vulnerability of women in Restoration society. Perhaps ironically, it also appeals to the prurient interests of the audience by putting women in morally compromising situations. Based loosely on her contemporary Thomas Killigrew’s 1564 Thomas; or, The Wanderer(1664), Behn’s play is leaner, less lewd, and more profound. The plot follows the fortunes of opposing lovers, one a woman of quality masquerading as a courtesan and one a wandering rake whose philandering days end when he falls in love with her. Several near-rapes and the tragic case of a jilted courtesan, another character in the play, balance the comic treatment of sexual politics in the seventeenth century. The rover of the title is either Willmore, an exiled English sea captain on shore leave to enjoy the carnival, or Hellena, a young woman hoping to experience life and love before being committed to a convent by her brother. These two rovers meet and fall in love amid witty debates and sexual maneuvering. Willmore has many parallels to Charles II, whose exploits during his twenty-year banishment from England were well known. Charles II enjoyed the play so much that he commissioned a private viewing of it. 

Question: 3,Does the use of different terminology to describe prostitutes in the play have an effect on how a given character is perceived, or how the profession as a whole is perceived? Explain.

In The Rover, prostitutes are alternatively referred to as “courtesan” and “whore.” The latter of these terms is stigmatizing, whereas the former lends the profession a somewhat glamorizing tone. Language thus functions in this situation to draw a distinction between the “upper class” and “lower class” prostitutes, and with this distinction comes a variance both in respect and agency. Lucetta, for example, is referred to as a “whore”—which invites the audience or reader to imagine her as a rougher character, one who is perhaps more coarse and conniving. Her actions correspond to this image, as her actions in the play are cold, cruel, and viciously deceptive. Angellica, on the other hand, is alternatively referred to as “mistress” and “courtesan”—terms that have a softer and more dignified feel to them. Her actions are correspondingly more considerate and courtly.

As Belvile rightly pointed out, “..whatever extravagances we commit in these faces, we own may not be obliged to answer ‘em.” The same freedom furthermore led to a very flawed assumption that all gypsies were available for sex.Hellena who is described as ‘a gay young woman designed for a nun’ persists right from the start on her willingness to select matrimony over nunnery which is rejected by her brother, “Do not fear the blessing of that choice. You shall be a nun." She questioned and opposed the lack of agency with resilience: “Prithee tell me, what dost thou see about me that is unfit for love — have not I a world of youth? a humour gay? a beauty passable? a vigour desirable? well shap’d? clean limb’d? sweet breath’d? and sense enough to know how all these ought to be employ’d to the best advantage: yes, I do and will. Therefore lay aside your Hopes of my Fortune, by my being a devotee,..” Unapologetically, she endeavoured to find a suitable match with whom she could have sexual intercourse. Shattering the stereotypical image of a high-class Puritan woman, she asked: “Why must we be either guilty of fornication or murder if we converse with you men? And is there no difference between left to love me, and leave to lie with me?” 

Britain’s king led his noblemen by example with a hedonistic lifestyle of parties, sex, and extravagant spending. The social and sexual freedom of this “libertinism,” however, did not extend to ladies. Although women might crave higher degrees of autonomy and sexual expression, their lives still fit within the boundaries of three roles: nun, prostitute, or wife. Between the categories of “virgin” and “whore” lay a void, not a spectrum; one could give “the whole cargo or nothing”.Performed in 1677, Aphra Behn’s play, The Rover, speaks to this double standard, which limited her female peers’ sexual desires to the realm of convent, brothel, or home. Set loose in the topsy-turvy world of Carnival, her characters demonstrate the active, complicated game required of women seeking to secure personal happiness. The dangers of the chase and the play’s tidy conclusion, on the other hand, suggest at how ladies neither could nor should stray too far into the masculine roles of wooer and possessor. Late Stuart society, Behn seems to lament, offered no place to the sexually free, libertine woman.

Her virginal sister, Florinda, and the sexually liberated courtesan, Angellica Bianca, adopt similar goals in pursuit of passion. They are nothing like the subordinate females of Puritan propriety, but witty, competent matches for the men they meet. Through their strong personalities, Behn suggests at early British women’s potential to feel and act confidently on sexual feelings, thus " desire” and “[subverting] the construction of woman as a self-policing and passive commodity”.A common prostitute dupes the comic figure, Ned Blunt, despite his comrades warning of possible deception. Florinda’s brother Pedro, along with the English band, becomes so absorbed in the libertine hunt for sexual conquest that he nearly rapes his own sister. The blundering behavior of the English cavaliers speaks to the reason and abilities of women and encourages late Stuart Britain to respect the female libertine as a strong, capable lady, not a whore.

Each woman begins the play bound one of the three fates: Florinda to marriage, Hellena to the nunnery, and Angellica Bianca to well-paid prostitution. Through Carnival, however, these women abandon their prescribed positions with disguises to “be mad as the rest, and take all innocent freedoms,” including to “outwit twenty brothers” . The masquerade serves multiple purposes. First, disguise equalizes the class distinctions, “[blurring, criticizing] and…even [satirizing] the difference between the categories available to women”  . When lost in the festivities, the ladies join all that “are, or would have you think they’re courtesans,” the most sexually liberated women . Their initial costumes as gypsies allow them to approach men in a feminized, desirous way. Gypsies already occupy the role of outcast on the liminal edge of society; by taking on their looks, Florinda and Hellena put themselves and their sexuality outside the confines of cultural expectation. Their decision implies Behn’s opinion that her peers should seek to escape the restrictions that define them.

At the same time, celebrated sisterhood and female expression of feelings and desires and mocked the rigidity of heteronormative gender roles which were blurred in the carnival festivity where identities were unrevealed and cross-dressing, wizarding were used as tools to create bewilderment for smoother transgression.

Words:- 1,189

Hard Time

Thinking Activity:

Hard Time by Charles Dickens

 Discuss the theme of  Utilitarianism with illustration from the novel.

What is Utilitarianism?

utilitarianism, in normative ethics, a tradition stemming from the late 18th- and 19th-century English philosophers and economists Jeremy Bentham and John Stuart Mill according to which an action (or type of action) is right if it tends to promote happiness or pleasure and wrong if it tends to produce unhappiness or pain—not just for the performer of the action but also for everyone else affected by it. Utilitarianism is a species of consequentialism, the general doctrine in ethics that actions (or types of action) should be evaluated on the basis of their consequences.

Theme of Utilitarianism:

In the novel Hard Times, Charles Dickens connives a theme of utilitarianism, along with education and industrialization. Utilitarianism is the belief that something is morally right if it helps a majority of people. It is a principle involving nothing but facts and leaves no room for creativity or imagination. Dickens provides symbolic examples of this utilitarianism in Hard Times by using Mr. Thomas Gradgrind, one of the main characters in the book, who has a hard belief in utilitarianism. Thomas Gradgrind is so into his philosophy of rationality and facts that he has forced this belief into his children’s and as well as his young students. Mr. Josiah Bounderby, Thomas Gradgrind’s best friend, also studies utilitarianism, but he was more interested in power and money than in facts. Dickens uses Cecelia Jupe, daughter of a circus clown, who is the complete opposite of Thomas Gradgrind to provide a great contrast of a utilitarian belief.

Hard Times is Dickens’ most biting fictional critique of these moral principles and their consequences. The central utilitarian character in Hard Times is Thomas Gradgrind, a school board superintendent and father who forces the children under his mandate to memorize facts and statistics. The children are encouraged to maximize utility through their actions by basing their decisions on selfish, cold calculation. In turn, the children are punished for enjoying artistic entertainment such as storybooks about fairies and watching circus performers. With lives dominated by facts and void of art, the children are frustrated and discontented. Gradgrind’s children ultimately grow to find that the utilitarian system of ethics fails them when they are confronted with the complexity of justice and emotions.

Dickens uses Thomas Gradgrind to demonstrate exactly how a basic philosophy of rationality self-interest. Thomas Gradgrind has faith that human nature can be restrained, calculated, and ruled completely by facts. Certainly, his schooling attempts to turn young children into tiny machines. Dickens’s main goal in Hard Times was to exemplify the risks of letting humans become nothing but machines, signifying that the lack of kindness and imagination in life would be intolerable. Louisa balms her father for only teaching her lessons on facts and nothing on life, she feels that that’s the reason she is unhappy in her marriage. “All that I know is, your philosophy and your teaching will not save me. How, father, 

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 Mr. Gradgrind’s two oldest children, Tom and Louisa, are examples of how a utilitarian method can fail horribly. Tom and Louisa were never given the opportunity to think for themselves, experience an adventurous life, or even use their imaginations. True, they are intelligent human beings but do not have the capability to understand street smarts. Dickens uses irony as a comical device but also to show how ineffective the utilitarian method of teaching is.

Gradgrind first finds his antithesis in Sissy, a girl at his school who is adopted by the Gradgrinds when her circus-performer father abandons her. Sissy is of another world, that of the circus that is governed by art and emotion, which contrasts with Gradgrind’s school and upper-class home, governed by facts, logic and selfishness. Sissy fails, both at school and at home, to comply with the mathematical rationalizations of utilitarianism because she is empathetic and imaginative.

In this novel Dickens Shows how Thomas Gradgrind uses a utilitarian mindset to force facts in the minds of young children. “Stick to Facts” (1) Thomas Gradgrind says. Dickens use Thomas Gradgrind Teachings to show how facts alone are not enough. Dickens connives that you need other factors to consider when creating the perfect human. You need imagination, life adventure and facts alone are not enough

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Dickens’ ultimate message is to show the value of imagination, art, and human connection in a place dominated by fact and rationality. When Tom Gradgrind’s children, Louisa and Tom face hardship because they followed their father’s utilitarian thinking, it is ultimately Sissy who will be the one who pilots change in the imaginary of the Grad grind. Sissy is a magnetic storyteller, someone who can light the spark in the minds of others that illuminates a new vision of the world. That vision might be a fantastic one of fairies and other forest spirits, or of a different, more compassionate future. We see this in Sissy’s undying hope that her father might still come back home to her one day. She has faith in a better tomorrow that is based on love, not material improvement. Dickens was in fact outlining these anti-utilitarianist experiences in his humanistic stories, and honoring art as the form of defense that can lift humanity out of the dregs of reductivism.

Pamela; or, Virtue Rewarded

Thinking Aactivity

Pamela; or, Virtue Rewarded by Samuel Richardson

         

Here i write a blog on given question, is pamela a reliable narrator? If Yes, then why? If not, then why? 

 

Plot of the novel

Pamela; or, Virtue Rewarded is an epistolary novel first published in 1740 by English writer Samuel Richardson. Considered one of the first true English novels, it serves as Richardson's version of conduct literature about marriage. Pamela tells the story of a fifteen-year-old maidservant named Pamela Andrews, whose employer, Mr. B, a wealthy landowner, makes unwanted and inappropriate advances towards her after the death of her mother. Pamela strives to reconcile her strong religious training with her desire for the approval of her employer in a series of letters and, later in the novel, journal entries all addressed to her impoverished parents. After various unsuccessful attempts at seduction, a series of sexual assaults, and an extended period of kidnapping, the rakish Mr. B eventually reforms and makes Pamela a sincere proposal of marriage. In the novel's second part Pamela marries Mr. B and tries to acclimatise to her new position in upper-class society. The full title, Pamela; or, Virtue Rewarded, makes plain Richardson's moral purpose. A best-seller of its time, Pamela was widely read but was also criticised for its perceived licentiousness and disregard for class barriers. Furthermore, Pamela was an early commentary on domestic violence and brought into question the dynamic line between male aggression and a contemporary view of love. The action of the novel is told through letters and journal entries from Pamela to her parents. Richardson highlights a theme of naivety, illustrated through the eyes of Pamela. Richardson paints Pamela herself as innocent and meek to further contribute to the theme of her being short-sighted to emphasize the ideas of childhood innocence and naivety.

Let's discuss about Pamela is reliable narrator or not.l can say yes Pamela is reliable narrator.

     

One of the drawbacks of first-person voice is that we only hear that person’s view of events. Is Pamela a reliable narrator? Probably Richardson means her to be, since his intention with the book is to present a portrait of how girls ought to act. And not just girls. The last few pages are taken up with reminders to gentlemen, aristocrats, servants, clergymen, etc. of the lessons they should have learned from the story. Yet, it is hard not to wonder if Pamela didn’t plan the whole thing from the start in order to trap Mr. B. into matrimony, and if she isn’t perhaps a bit more wicked than the image she presents to her parents.

Pamela is by her own account a pious and respectable girl whom everyone loves. Unfortunately, her master loves her a bit too much for her comfort and makes unwanted advances which she parries using her feeble weapons: words, fainting fits, and the support of other servants, though that support must be tempered by their fear of and dependence on their master. Thinking about how helpless she was to prevent him if he chose to force himself on her, I was reminded of The Tale of Genji and how such behaviour was considered commonplace. 18th century England is a long way from 11th century Japan, but I was not surprised to find Pamela’s aristocratic neighbours and servants from other houses declaring that Mr. B making her his mistress should be the obvious and ordinary outcome. Even today, with all the strides we have made in enabling women to be our own selves and not some man’s servant or property, there are too many women who are helpless against their abusers.

The first part of the story is a series of letters Pamela writes to her parents relating her problems with Mr. B. and asking for their advice. The second and much longer part is a journal that she keeps, still addressing her parents as though writing a long letter to them, telling them of her trials and assuring them of her determination to preserve her honor. She also tries to analyse people’s motives, including her own.

What kept me reading, in spite of the long lists of rules for right conduct in serving maids and wives, was the tension between the social classes, the niceties of who could sit down in whose presence, the particular amount of authority that a housekeeper might have, what happens when a woman marries a man from a lower class and vice versa. Richardson specifically instructs “lower servants” to “distinguish between the lawful and unlawful commands of a superior”, implying that they should disobey the latter. But, however radical he may be about social class, Richardson promotes a coldly conventional view of women’s roles, where a wife is little better than a servant.

Samuel Richardson did not intentionally create Pamela as a sexually developing woman. Contrarily, his entire design was to praise a realistic woman who had remained virtuous and to encourage all other women to follow her example.Despite Richardson’s intention to create a pure character in Pamela, she can easily be read as a woman discovering her own sexuality. Pamela is somewhat confused about her own social identity. The distinctive forms and features of the beginning and the end of the novel can not only make the narrative techniques of the novel more diversified, but also attract readers' attention to a great extent.At last, the conclusion summarizes the whole thesis, reaffirms the arguments, and emphasizes the major narrative techniques again.