Chronological Series of works for JRF / NET / GSET / GATE / PG / UG Aspirants.
Literary Works of Samuel Richardson (1689-1761)
Novels
Pamela; or, Virtue Rewarded (1740–1761)
Pamela in her Exalted Condition (1741–1761)
Clarissa, or, the History of a Young Lady (1747–61)
Letters and Passages Restored to Clarissa (1751)
The History of Sir Charles Grandison (1753–1761)
The History of Mrs. Beaumont – A Fragment
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Chronological Series of works for JRF / NET / GSET / GATE / PG / UG Aspirants.
Literary Works of Edmund Spenser (1553 –1599).
Poems.
The Shepheardes Calender (1579)
The Faerie Queene (1589/90)
The Ruines of Time (1591)
The Teares of the Muses (1591)
Mother Hubberds Tale (1591)
The Ruines of Rome (1591)
Four Hymns
Amoretti (1595)
Epithalamion (1595)
Astrophel (1595)
Colin Clouts Come Home Againe (1595)
Prothalamion (1596)
The Faerie Queene, Books 4–6 (1596)
Prose.
A view of the present state of Ireland (1594)
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Plot, Setting, Themes, Conflict and Characters in Comedy.
PLOT.
Plot
is defined as a set of events or occurrences in the story that are connected by
a causal relationship. The sequence of events is the pattern that results in a
coherent whole. According to Aristotle,
the order of a unified plot is a continuous sequence of beginning, middle, and
end. A comedy is a work in which the hero and heroine are meant to be together
but get stopped by anything. Whatever is keeping them apart is removed from the
balance during the course of the story, usually after a lot of raising
misunderstanding and miscommunication, which usually ends in huge humour.
Misinterpretations
worsen the problem. Characters get increasingly isolated. The truth will
eventually be revealed. Misconceptions are corrected. The characters' views
change. Love and understanding help in the recovery of a relationship. The
mystery is finally discovered, the terrible man is punished, and everyone
marries.
Everyone
has comic happenings in their lives that can be used in a narrative or by
comedic characters—being personal means showing an absurdity or expressing a
point of view on anything in life. Of course, this is a comedy. In the joke,
the audience will recognise and laugh at themselves. Comedies' complex
plot and confusion can make them similar to detective 'whodunnit' stories in
that part of the fun is figuring out the true story and the causal chain of
events that lead to the scenario.
In
fact, many comedies might be reframed as 'enlightenment' stories. Perhaps more
than any other form, comedies involve an artificiality in the impossible
complexity of the tale, particularly in exaggerated versions such as burlesque,
slapstick, and farce. When the boundaries of routine are broken, the creative
possibilities for surprise laughter vastly increase.
Confusion and Isolation.
The purpose here is to stack everyone against
each other. Sow the seeds of misunderstandings and keep everybody apart.
Raise the
Stakes.
The risks are the issues that concern the primary character. What are
they hoping to gain or lose? Make certain that the consequences are quite high.
The bigger the risks, the more one may catch the audience's interest. This
is where further uncertainties enter the picture, and the challenge appears to
be unsolvable.
Problems
Solved.
All of the miscommunications finally come to
light, and the confusion is cleared up. The characters get their
happily-ever-after ending.
Plot
has five fundamental components:
1. Introduction - The story's opening, when the
characters and setting are introduced.
2. Rising Action - This is where the story's events
become complex and the conflict becomes visible (events between the
introduction and the climax).
3. Climax - This is the story's most interesting and
crucial point. The reader is interested in what happens next; will the conflict
be resolved?
4. Falling action - The events and complications begin
to resolve themselves. The reader understands what happened next and whether or
not the conflict was resolved (events between the climax and the denouement).
5. Denouement
- This is the story's final outcome or untangling of events. It is
beneficial to extract new information from the main character.
SETTING.
Setting
refers not just to place, time, and event, but also to tradition, characters,
social behaviours, and people's perspectives at the time the narrative is
written. Setting, according to Aminuddin, is the backdrop events in the
literature such as place, time, event, and fiscal and psychological function. A
story's background or backdrop is something that defines a place or
circumstance. The setting is the environment that surrounds a tale event, the
world that interacts with what is happening. Background can also be intangible
fixed hours (day, month, and year), weather, or a historical period.
The
setting of a comedy relates to its staging and design. Because comedy is a
direct and lively discussion with the reader, it requires sufficient and
intelligent staging to connect with the readers. Familiar characters and daily
events can completely immerse the reader in the comedy's narrative.
A
dramatic comedy's setting is nearly always the interior of a single location.
Dramas have a lot of freedom with setting than comedies because they are set in
real places and time. Many comedies employ locales that are only loosely based
on reality; they may be totally built on sets or enhanced by props and other
aspects (such as special effects). Dramas can get away with a lot more
because their settings aren't bound by reality, time travel obstacles, or
anything else.
There are several aspects of a Comedy’s
setting to consider when examining how setting contributes to a story.
1. Place - geographical
location. Where is the action of the comedy taking place?
2. Time - When is the comedy taking place? (historical period, time of day, year, etc)
3. Weather conditions - Is it
rainy, sunny, stormy, etc?
4. Social conditions - What
is the daily life of the character's like? Does the comedy contain local color
(writing that focuses on the speech, dress, mannerisms, customs, etc. of a
particular place)?
Theme.
A theme is a central, unifying concept. The larger issue arises as the characters pursue their purposes. Many literary works have common themes and fundamental concepts. Theme allows the author to exhibit and reveal all aspects of human nature and the human situation as a literary device. This improves readers' enjoyment and understanding of a literary work by encouraging thought, interpretation, and analysis.
Some basic Themes of Comedy.
Social Etiquette and Reputation
one of its key topics - manners, or social decorum, and the comedy that might arise as a result of the significance, particularly to the upper class during the Restoration, of maintaining one's social standing. At the play's climax, the acts and emotions are no longer primarily motivated by love or money.
Women
The question of a woman's role in society is brought to the foreground in some progressive (and some not so) in comedy.
Of course, marriage and adultery are major themes in comedy. Marriage and inheritance are common themes, particularly in Shakespeare's comedies. Shakespeare's plays frequently reflected the culture and society of his day and how it was developing. When it came to marriage in Shakespeare's day, love was still a minor consideration. Marriages were typically arranged by families as a form of business transaction or, if the families were powerful enough, a political alliance. Shakespeare experiment with the idea that love should be an element of marriage in Much Ado About Nothing.
same-gender and opposite-gender friendships are put into question, since it is stated and proved that none of these relationships are very solid or trusted. Though initially appearing as friends, the women-women and men-men couples engage plans against one another centred mostly on money and reputation.
some common examples of themes.
CONFLICT.
“No
conflict, no drama”
-
GEORGE BERNARD SHAW.
Conflict
arises when a character is unable to achieve their purpose due to a challenge.
This obstacle could be internal or external - between people or between them
and their surroundings. Conflict can manifest itself in a variety of ways, such
as through physical, verbal, or psychological means. The structure of the drama
can incorporate conflict. Characters in a story are frequently faced with
conflict as a result of their experiences. Conflict is a battle that the
story's protagonists face. The conflict, which eventually becomes the tale, is
the essence of a literary work.
General
conflict is classified into two types in the literature: internal conflict and
external conflict. Furthermore, internal conflict is a problem that occurs within
a character and a struggle within him/her that does not cause or affect others.
External conflict, on the other hand, is caused by factors other than the self.
External conflict is the exact opposite of internal conflict, which refers to
the problems that characters confront as a result of mental strife.
Internal
Conflict
Character
vs Self
External
Conflict
Character
vs. Fate/God
Character
vs. Person
Character
vs Society
Character
vs. Nature
Character
vs. Supernatural
Character
vs. Technology
Inner conflict typically shows troubled characters
(often the play's protagonist) who are experiencing inner struggle. A good
example is Shakespeare's Hamlet. Literary and theatrical practises of the time
provided easy access to a character's thoughts to the audience. It's no
coincidence that the most famous soliloquy in literature, "To be or not to
be...." Conflict is the foundation of all effective theatre and, as such,
should be an essential learning component in any high school drama course. It
should be noted right away that drama without conflict is frequently highly
boring.
An external conflict occurs when a character battles a force
outside of himself. The forces that the character is attempting to overcome may
be those of other characters, societal forces, or nature. Character versus.
character conflict occurs when two characters are at conflict with one another.
When a character is at conflict with societal institutions that oppose his
views, such as the government or a religious institution, this is referred to
as character vs. society conflict. Character vs. nature is a sort of external
conflict in which the character stands against natural forces.
Characters
Characters are the people depicted in dramatic or narrative work who are interpreted by the reader as having specific moral, intellectual, and emotional qualities based on inferences from what they say and their distinctive ways of saying it - the dialogue - and what they do - the action.
A comedy's characters are the people who are supposed to be funny. The audience is intended to laugh at them, but it's difficult to discern who is and isn't. occasionally one can tell by how other characters treat them, but sometimes you can only tell if they say something humorous. A comedy's characters are the people who are supposed to be funny. The audience is intended to laugh at them, but it's difficult to discern who is and isn't. occasionally one can tell by how other characters treat them, but sometimes you can only tell if they say something humorous.
The characters in a comedy are chosen based on the life depicted in the play. They should be judged in accordance with the principles of psychology, science, and morality. They should not be superheroes, but rather ordinary members of society. They must not be both heroic and critical. They should not evoke a too sympathetic or antipathetic response. They should behave, act, and speak in the same way as ordinary people. They should not be overly good or evil, courageous or cowardly. As a result, the hero of the comedy is supposed to be a wise guy rather than a virtuous one.
Restoration comedy of manners was lighter, more joyful and cheerful in tone. They criticize outward behavior of society, Materialistic nature of society. some of the characters in comedy of manner were The fool, The schemer, The hypocrite, The jealous husband etc.
Zeal of the land busy, Dame Purecraft, Wellbred were the characters used by Ben Jonson in his Comedies.
Examples of Character.
Dogberry.
Shakespeare's romantic comedies are all set in a fantastical universe far removed from the dull and dark world of everyday existence. Their characters are likewise distinct from our own in that they live in their own fictional, vibrant world rather than ours. Dogberry is a funny character. He has no understanding of the law or of the things that are going on around him but he knows the procedures used in conducting the business of the Watch. His application of his misunderstandings and ignorance of those formal procedures has a great comic effect. He is filled with a sense of his importance as chief of the Watch, and in pitching that against the Watch’s ineffectual performance Shakespeare creates another source of comedy.
Bastard
These characters often upset plans because they are so selfish. They are mean, insensitive, insecure, manipulative and often make wise cracks.
Materialistic
These characters are immature, spoiled, entitled and often have the most to learn. They expect rewards without having necessarily to work for them. They can be lonely and do poorly in relationships, despite always seeking one.
Neurotic
These characters are in a permanent state of anxiety, tension, over reaction and worry. They are manipulative, controlling and demand things are done their own way.
The Manic Pixie Dream Girl
This is a gorgeous and dumb character, but not in an annoying way. She has a positive attitude and makes the audience feel good about life, yet she is clueless about most things and reacts immaturely when she learns anything shocking or upsetting.
The Completely Wrong Guy
These are characters that just don’t make sense, but they are somehow entertaining because of how strange they are or how much energy they put into being different from other people.
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✔ JOSEPH ADDISON (1672-1719)
👉 His life.
He was born in Milston, Wiltshire. He received his
education at the Charterhouse. Addison went to Oxford and became a fellow of
Magdalen College. He made his mark as a scholar, and he appears to have caught
the attention of Whig officials, who identified him as a future literary prop
for their group. He received a three hundred pound a year travel scholarship
and travelled extensively around Europe.
The Whigs' disasters in 1703 reduced him to poverty.
It is reported that in 1704 at the request of Whig leaders, he penned the poem
'The Campaign,' in which he praised the Whigs' war policy in general and the
worthiness of Marlborough in particular. This poetry made him famous and
wealthy. He held numerous governmental positions and pensions, married a
dowager countess, and served as Secretary of State.
👉His Poetry.
Addison rose to prominence early in his Latin poetry. These lyrics received significant recognition at a time when praise for ability in such a medium was valued. The Campaign, published in 1704, established him as one of the major poets of the time. The poetry is already unsatisfactory. It is written in the heroic couplet, and it has been called a "rhymed gazette" with some justification.
The story is little more than a pompous catalogue of
places and persons; the style is but mediocre, and warms only when it is feebly
stirred by the ignorant enthusiasm that a sedentary civilian feels for the
glory of war. The hero is Marlborough, who is drawn on a scale of epic
grandeur. The most famous passage of the work is that comparing the general to
the angel that rides the storm.
His only other poetical works worthy of notice are
his hymns, which are melodious, scholarly, and full of a cheerful piety. The
one that begins “The spacious firmament on high” is among the best.
👉 His Drama.
Addison was lucky in both his most ambitious theatrical production and his longest poem. He released the tragedy 'Cato', which had been in manuscript form since 1703, in 1713. It has little merit and no dramatist. It's written in painstaking blank verse, with wooden characters delivering long, boring speeches. However, it caught the attention of both political parties, who saw brilliant comparisons throughout the play that addressed the blazing passions of the period. The play ran for an incredible twenty nights and was a huge success.
Addison also attempted an opera, Rosamond (1707), which was a failure; and the
prose comedy of The Drummer (1715) is said, with some reason, to be his also.
👉 His prose.
Addison is credited with various political tracts,
however he is unremarkable as a pamphleteer. He lacked Swift's candour, and his
pen frightened his opponents. In reality, Addison is almost totally renowned as
an essayist.
Addison is the originator of
the quote, "Reading is to the mind what exercise is to the body". The
quote can be found in Issue 147 of the Tatler.
We have approximately 400 essays from Addison's writing. He intended to be a moderate censor of the age's morals, and the majority of his compositions deal with contemporary issues like as fashions, head-dresses, practical jokes, and polite discourse. Deeper subjects like as adultery, jealousy, prayer, death, and drinking were dealt in a popular manner. Politics was mentioned, but just briefly. Sometimes he used allegory to express his beliefs more vividly to his audience, as in 'The Vision of Mirza' and 'Public credit.'
Sir Roger de Coverley was a fictional figure created by Addison, who was an ancient country knight who frequented London's Spectator club. Characters such as Will Honeycomb, a middle-aged beau; Sir Andrew Freeport, a city trader; Captain Sentry, a soldier; and Mr Spectator, a shy, reticent individual, serve as foils. We should have had the first regular novel in our language if Addison had pinned the Coverley papers together with a greater storyline, love theme, or female characters. His sense of humour is exceptional. It's subtly satirical, gentlemanly, tolerant, and sophisticated. His style has frequently been praised. It follows the pattern of the medium style, which is never sloppy, obscure, or unmelodious.
In his 1735 Epistle to Dr Arbuthnot, Alexander Pope
mocked Addison, labelling him "Atticus" and likened him to an adder,
"willing to wound, but afraid to strike." Dr. Johnson dubbed
Addison's particular demeanour the "Middle Style." Clarity in subject
matter, simplicity in construction, lucidity in structure, absence of
obscurity, and freedom from rigidity distinguish Addison's created style. He
never wrote phrases that were unduly ornate. With great care and scrupulosity,
he avoided composition faults, low words, slang phrases, and words of common
use, colloquial words.
Regarding Addison's help, Steele
remarked, "when I had once called him in, I could not subsist without
dependence on him"
👉Literary Works of Joseph
Addison.
👉Prose and poetry.
To Mr. Dryden (1693)
An Account of the Greatest
English Poets (1694)
To Sir Godfrey Kneller, on his
Picture of the King (1716)
A Poem To His Majesty,
Presented to the Lord Keeper (1695)
An Essay on Virgil's
Georgics (1697)
The Campaign, A Poem, To His
Grace the Duke of Marlborough (1705)
👉Dramatic Works.
Rosamond: An Opera (1707)
Cato: A Tragedy (1713)
The Drummer, or the Haunted
House: A Comedy (1716)
👉Journalism.
Contributions to The
Tatler (1709-11)
The Whig-Examiner (1710)
Contributions to The
Guardian (1713)
Contributions to The Lover, by
Marmaduke Myrtle, Gent. (1714)
The Free-Holder, or Political
Essays (1715-16)
Work cited
Albert, Edward. History of English literature, Oxford University Press, 1979.
J Long, William. English Literature Its History and Its Significance for the Life of the English Speaking world. Rupa Publications, 2015.
Carter, Ronald and John Mcrae. The Routledge history of literature in English : Britain and Ireland. Routledge, 2016.
Dear Reader.!
Undoubtedly, A Plethora of Materials will be provided to the students of English Literature. One can grasp knowledge from this blog regarding Biographical details, History of English literature and Indian English Literature etc. Certainly, It will be helpful in the real sense.!
