Foe whom the bell tolls

For Whom The Bell Tolls

Hello everyone, this blog responds to the task assigned by Megha ma’am. Which is related to Earnest Hemingway’s novel.

#Critical Analysis of the end of the novel "For Whom the Bell Tolls".

For Whom the Bell Tolls on somber and poignant themes of sacrifice, inevitability, and connectedness. It is in such a scenario that Robert Jordan finds himself gravely injured and utterly unable to get away with his comrades. Finally, in those last moments of his life, Jordan accepts the inevitable with his stoic determination, choosing to stay behind, delaying the approaching fascist forces in order to provide his companions time to escape. This act epitomizes the novel's recurring exploration of individual sacrifice for a collective cause.

The ending is deeply emblematic of Hemingway's minimalist style and his philosophy of existential courage. The internal monologue of Jordan represents his reconciliation with death, letting the reader understand his thoughts before his final stand. His using his last few moments to add to the Republican cause, at the cost of certain death, shows his maturity and commitment to the cause for which he is fighting.

Hemingway leaves the ultimate fate of Jordan ambiguous, which makes the ending of the novel even more emotional. This kind of ambiguity echoes the uncertainty and tragedy of war itself, underscoring the fact that wars are often inconclusive and profoundly personal. This way of ending the story helps Hemingway shift the focus of the reader from the act of sacrifice itself to the emotional and philosophical undertones of the sacrifice.

Finally, the last pages of the novel clarify the central metaphor of John Donne's meditation: no man is an island, entire of itself. Jordan's sacrifice is not for personal glory but for the survival and freedom of others. By doing so, Hemingway reinforces the idea of interconnectedness among humans, a theme that resonates throughout the novel.

#In what ways the flashback technique was used in "For Whom the Bell Tolls?

Hemingway uses the flashback technique in For Whom the Bell Tolls to give the reader a background and context to his characters, especially Robert Jordan. These flashbacks serve many purposes, enhancing the story while providing insight into the motivations and histories of the characters.

Flashbacks are important moments in Jordan's life, such as his initial idealism and reasons for joining the fight against fascism. Through these flashbacks, readers get to understand the moral and emotional journey he goes through, which makes his decisions in the present more poignant.

In Jordan's memories of love, loss, and vulnerability, Hemingway develops a layered and multi-dimensional protagonist. For instance, when Jordan thinks about his relationship with Maria, their bond takes on an emotional dimension as it contrasts the tenderness of love with the brutality of war.

The flashbacks also give a wider view of the Spanish Civil War, shedding light on its complexities and the motivations of various factions. These recollections help Hemingway paint a vivid picture of the human cost of the conflict, adding layers of realism and gravity to the story.

Some flashbacks foreshadow events which are to be seen later with a subtle sense of inevitability, aligning well with the themes of fate and sacrifice in the novel. For example, Jordan's memories of past battles foreshadow the war's toll on him and his fellow soldiers, not only in physical pain but also emotional.

Hemingway expertly weaves the flashback throughout the novel seamlessly, creating and then blending past into present in the most organic manner possible. The results of these different times create stronger emotional impact; the reader not only understands and feels the load of the decision the characters must make but the shadows of their dark pasts too. Flashbacks are not extraneous to this novel but interwoven features that make for a more realistic study of loyalty and love in respect to the human spirit against a backdrop of war.

References:

The Hemingway Society: Home, https://www.hemingwaysociety.org/ . Accessed 18 January 2025.

W.B.Yeats's Poems

 W.B.Yeats’s Poems

Hello everyone, This blog is responded  of thinking activity task assigned by Head of the Dept. Dr Dilip Barad For further reading Click Here

# Compare the treatment of war in On Being Asked for a War Poem with other war poems by Wilfred Owen or Siegfried Sassoon.

The poetry of World War I is now synonymous with visceral depictions of the horrors and futility of war. Among the most prominent poets, Siegfried Sassoon and Wilfred Owen both faced brutal realities of war head-on and rejected the romanticized ideals of society. They exposed the emotional and physical toll that war had on soldiers through their works. In this blog, we will examine Sassoon's On Being Asked for a War Poem, Owen's war poems like Dulce et Decorum Est, and Sassoon's The Hero to show the basis of how each poet questions the luster of war and how it devastates the scenario.

Yeats’s On Being Asked for a War Poem presents a subtle response to the turmoil of war. He does not glorify it or condemn it outright but implies that poetry should transcend the immediate and political and focus on the universal. His reticence contrasts starkly with the visceral and vivid depictions of war found in the works of Wilfred Owen and Siegfried Sassoon. While Yeats's poem questions the role of art in times of conflict, Owen's Dulce et Decorum Est and Sassoon's The General engage directly with the realities of war, exposing its horrors and criticizing those who perpetuate it.

In Dulce et Decorum Est, Owen's brutal imagery—"like a man in fire or lime"—brings the physical suffering of soldiers into sharp relief. His poetry condemns the romanticized ideals of war by contrasting them with the grotesque realities. Sassoon's The General uses satire to expose the incompetence of military leadership. Yeats, by refusing to write about the war directly, opens up questions as to whether poetry should engage with the political moment or remain above it. This divergence marks a broader debate about the role of art in times of crisis.

 #Write a modernist-inspired poem reflecting on a contemporary global crisis, drawing on Yeats’s themes and techniques.

Fragmented Borders
Between the steel and screen, a faceless storm,
Boundaries dissolve into binary ghosts.
Oceans churn, not with salt but silicon,
Whispers coded, carried on an invisible tide.

Under skies no longer sky, but haze,
A child’s cry breaks through the algorithmic hum.
The earth shifts; tectonic pixels crack,
And cities fall, not in flames, but in silence.

Where is the falconer when falcons drift
Through fiber-optic veins, seeking no prey?
Vision blurs in a thousand screens,
And the second coming streams live, buffering. (#Chatgpt)

#Do you agree with Yeats’s assertion in 'On Being Asked for a War Poem' that poetry should remain apolitical? Why or why not?

In On Being Asked for a War Poem, Yeats argues that poetry should not be harnessed for political purposes, stating, "I think it better that in times like these / A poet's mouth be silent." This assertion reflects Yeats's belief in the transcendent and universal role of poetry. However, this stance is open to debate.

One could argue that poetry inherently reflects the time in which it is created, making it difficult to remain apolitical. Works by Owen and Sassoon, for instance, show how poetry can serve as a powerful medium for critique and advocacy. Their vivid portrayals of war challenge societal norms and provoke critical thought, suggesting that poetry’s engagement with the political can deepen its impact. On the other hand, what Yeats sees is an opportunity for readers to ponder whether it is precisely this distance from pressing concerns that makes art timeless.

Ultimately, the question of whether poetry should stay apolitical depends on what it is intended to do. If it is intended to inspire, provoke, or document, then its political involvement is part and parcel of what it does. Yeats's position, though noble, may underestimate what poetry can both transcend and connect with the immediate.

 #How does Yeats use imagery to convey a sense of disintegration in 'The Second Coming'?

Yeats's The Second Coming uses powerful imagery to capture a world coming apart, which gives a sense of deep disintegration. Immediately in the opening lines, chaos is established: "Turning and turning in the widening gyre / The falcon cannot hear the falconer." The image of a falcon spiraling out of control symbolizes a loss of order and connection, suggesting humanity's descent into chaos.

The line "things fall apart; the centre cannot hold" encapsulates the poem's central theme of disintegration. This metaphor of a collapsing center reflects the broader societal and spiritual upheaval Yeats perceived in the aftermath of World War I. The imagery intensifies with "mere anarchy is loosed upon the world," evoking a vision of chaos as both pervasive and uncontrollable.

Yeats continues by describing the "rough beast" slouching towards Bethlehem to further enhance the apocalyptic tone. The "shape with lion body and the head of a man" forms a nightmarish image by blending human and animal features to portray a monstrous transformation that is inevitable. This creature epitomizes a new, unwholesome era, hence reiterating the sense of foreboding from the poem.

Through these vivid and haunting images, Yeats communicates a disintegration of traditional structures into the birth of a future that has no clear certainties. What makes this truly timeless is that he can put together mythological and contemporary pieces to explore this collapse and revival of society among readers across time.

THE WASTE LAND

 The Waste Land 

Hello everyone, this blog is based on a thinking activity task which is assigned by Dr. Dilip Barad Sir for further reading Click Here

T.S. Eliot published "The Waste Land" in 1922, which is a very important "modern epic" in modernist poetry.  T.S. Eliot led modernism with esortic complex, fragmented works challenging traditional unity. "The Waste Land" vividly depicts the breakdown of modern societies. Eliot's innovative style reshaped 20th-century English literature, leaving an enduring impact on poetic aesthetics. The poem is structured into five sections:-

1. The Burial of the Dead

2. A Game of Chess

3. The Fire Sermon

4. Death by Water

5. What the Thunder Said

"The Burial of the Dead"

The first part of the poem symbolizes spiritual death in a modern wasteland. Citizens are unwilling to have their schedules disrupted, and April, a traditional symbol of rebirth, is cruel because they do not like spiritual rebirth.

"A Game of Chess"

Here, Eliot takes ideas from Middleton's play to criticize a society where love becomes lust. Philomel's reference is about purification through suffering, but in the modern world, hope for spiritual rebirth seems lost.

"The Fire Sermon"

Named after Buddha's sermon, this section underscores humanity’s spiritual degradation, consumed by hatred and desire.

"Death by Water"

Water symbolizes purification and rebirth. The death of Phlebas highlights the futility of worldly pursuits, with youth and ambition ultimately succumbing to death.

"What the Thunder Said"

Liberation toward spiritual barrenness is also recommended in this part, which the knight travels and Christ's followers on the way to Emmaus, both the symbols of the truth and resurrected.

Themes of Nihilism and Redemption

Eliot's writing is saturated with brokenness, loss, sexual perversion, and spiritual decay in his work, which connects to Nietzsche's nihilistic philosophy. Both deal with rootlessness in life under modernism but resolve through different answers:

Nietzsche: Focuses on self-help and mastery in dealing with the message of the "death of God" by calling humanity to rise to be "Ubermensch" (superhumans). A believer in criticizing reliance on religious faith, he advocates master morality and freedom from fear-based beliefs.

Eliot: Contrasts Nietzsche's progressive stance by urging a return to religion and scripture to address spiritual crises. He views the inhabitants of the wasteland as sinners, lost in their abandonment of spirituality.

The Clash of Perspectives

References to the Bible (for example, Ezekiel's "Son of Man") and Indian scriptures like the Upanishads indicate Eliot's traditionalism, which he relates to cultural preservation and salvation. According to him, humanity is not lacking in God, but is lacking in perception. He emphasizes his conservative stand on salvation with regard to the role of cultural traditions as an obstacle to chaos.

Instead, Freud, in Civilization and Its Discontents, advocates for primitive desires and society to be at balance. Here, he rebukes repressive salvation practices for unfulfilled desires lead to psychological and social tensions. Thus, Freud shows the darker and repressed part of human instinct, which works against Eliot's idea of restraint.

Eliot's Use of Myth and Tradition

Eliot uses myth and historical allusions to configure the present as a chaotic place. His nostalgia for the past only makes one believe in cultural heritage as something stable. Still, this method seems not sufficient in meeting the needs of modern problems such as sexual perversion, which Freud says is caused by repression, not liberation.

Critical Observations

Salvation and Modernity: This use of the old solution to contemporary problems betrays the conservatism in Eliot. The exaltation of chastity and control is just that: it reproduces what it deplores.

Cultural Evolution: Yet Eliot appeals for tradition. In the end, however, it is the movement of culture itself which creates in men ways to live, in some degree a fulfillment.

Freud vs. Eliot: Freud's understanding of human instincts often seems more relevant to modern dilemmas. Yet, Eliot's focus on cultural and spiritual roots provides a counterbalance to unchecked desires, offering a vision of order amidst chaos.

References: 

Movie Screening

 Vita & Virginia(2018)

Hello everyone, This blog is responding to a thinking activity task assigned by Prakruti Ma'am. which is based on Movie Screening of Vita & Virginia 2018 as part of studying Virginia Woolf's novel ‘Orlando’.

Introduction

The Vita & Virginia film, based on Eileen Atkins' play, is a 2018 cinematic exploration into the passionate and complex relationship that Virginia Woolf shared with Vita Sackville-West. Letters, societal commentary, and deeply personal struggles were all woven into the tapestry of this film that was inspired by Woolf's iconic novel Orlando. We take this lens to the ways letters are both tools of communication and narrative and to diverse perspectives on relationships and society, and to an evaluation of how Virginia Woolf's emotional depth and bond with Vita Sackville-West were portrayed. 

#How do the letters function not only as a medium of communication between the two central characters but also as narrative tool within the film?

The letters by Vita and Virginia are central to this film. Not only are they being used as a medium in their communication but also through them, the structure which propels the story, is brought into action through the letters. Button's screenplay has well used these letters to inform the viewers about the various changes that their relationship sees from admiration to romantic entangle. The eloquence coupled with the emotional depth behind these letters shows the intellectual/emotional bond that fuels their bond.

For instance, in one of Virginia’s letters, she writes, 

“You have broken my defenses, and I don’t resent it.” (Debecki and Woolf)

This line encapsulates Virginia’s vulnerability and the transformative impact Vita has on her. These letters are not merely exchanges of words but windows into their innermost thoughts, allowing the audience to experience their growing intimacy.

Letter writing is a cinematic feat, beyond words. She used voiceovers and montages to breathe life into those letters, interplaying the lyrical prose that Woolf wrote with scenes that symbolizes longing and connection for added emotional depth and for richness of narrative.

#Discuss some of the views regarding marriage, relationship and the role of society presented by the various characters in the film.

The movie depicts divergent views of marriage and love, reflecting the complexity of the 1920s social mores and individual desires. Vita, is one who defies the convention. She is married to Harold Nicolson but has no qualms about flirting with Virginia, challenging the social institution of marriage. 

Vita’s declaration, “I’ve never been able to confine myself to one kind of love,” underscores her fluid and expansive view of love. (Debecki and Woolf)

Supporting characters also add to these themes. Harold Nicolson is the one who, pragmatic about the whole affair, tries to reconcile himself with Vita's infidelity, and the sister, Vanessa Bell, Virginia, was on a more conservative level of thought, so contrastive opinions enhance the story, it reveals conflict between conventional societal expectations and personal liberty.

# In your opinion, is the film able to capture Woolf's depressive state with sincerity & genuity?

The portrayal of Virginia Woolf’s mental health is a delicate and critical aspect of the film. Button’s direction and Debicki’s performance convey Woolf’s depressive state with a sincerity that avoids sensationalism. Through nuanced expressions, fragmented dialogue, and hauntingly beautiful imagery, the film captures Woolf’s internal struggles.

One of the most poignant scenes has Virginia strolling through her garden, bombarded by intrusive thoughts. The soundscape of whispers and buzzing is the aural expression of her mental chaos. This depiction speaks to Woolf's actual experiences in her diaries and letters, which makes it genuine and empathetic.

#Share your thoughts about the portrayal of the relationship between Virginia Woolf and Vita Sackville West. (Here, discuss points like who initiated the relationship, their first meeting, their last meeting, etc)

The relationship between Virginia Woolf and Vita Sackville-West is depicted as an admixture of admiration, passion, and creative inspiration. Vita is the initiator, drawn to Virginia's intellect and mysterious presence. Their first meeting is depicted with charged dialogue and lingering glances, setting the stage for their intense connection.

As their relationship develops, the boldness of Vita contrasts with Virginia's reticence. An important point is made when Vita states, 

"You are the only woman who has made me lose my mind."  (Debecki and Woolf)

This serves as a statement of the strong love she has for Virginia. On the other hand, Virginia's gradual giving way to Vita's advances portray a struggle within her as regards her insecurities toward love.

Their last meeting, though not so dramatic, holds finality and unspoken words. At this point, the relationship has gone beyond physical and romantic levels to deep respect and creative exchange. Such is symbolized in Virginia's dedication of Orlando to Vita, as an immortalization of their bond through literature.

Virginia: “You make me feel visible.”  (Debecki and Woolf)

Virginia’s admission highlights the validation and empowerment she finds in her relationship with Vita. 

Conclusion

Vita & Virginia is a poignant portrayal of love, creativity, and societal constraint. Through innovative use of letters, the film brings together the personal and universal in an invitation to enter the intimate world of its central characters. In its portrayal of diverse perspectives on relationships and marriage, it provokes the viewer to question norms. Above all else, it captures with sincerity and artistry the emotional depth of Virginia Woolf and how she felt for Vita Sackville-West: a fitting tribute to two remarkable women whose bond is truly well beyond the ordinary.

References:

Debecki, Elizabeth, and Mrs Woolf. “Vita & Virginia (2018).” IMDb, https://www.imdb.com/title/tt5859882/ . Accessed 29 December 2024.

Thinking Activity of 'Practical Criticism'

Mohandas Karamchand

Hello everyone this blog is based on a thinking activity task based on I.A Richards “Practical Criticism”, which was assigned by Head of the Dept, Dr. Dilip Barad sir for further reading Click Here

I.A. Richards, in his "Practical Criticism" (1929), is one of the seminal works in literary theory, which focuses on close reading and analysis of the text without any extratextual context. He carried out experiments where he showed poems to students without mentioning the authors or backgrounds so that they would judge purely based on the text. This method was used to remove preconceptions and prejudices and promote more objective and disciplined approaches toward literary criticism. He brought the "Four Kinds of Meaning": sense, feeling, tone, and intention to take apart the ways language could mean and evoke.

New Criticism movement that emphasized an intrinsic examination of literary works which were in turn based on how a text is perceived and understood inside its covers rather than extra-textual factors like authors' intentions or historical surroundings.

As part of that, a contemporary poem was given by sir to analyze how to understand without connecting Factors like Society, Historical events, Name of Author, and also described what is problematic and misunderstanding.

Mohandas Karamchand

“Generations to come will scarcely

believe that such a one as this walked

the earth in flesh and blood.”

—Albert Einstein

Who? Who? Who?

Mahatma. Sorry no.

Truth. Non-violence.

Stop it. Enough taboo.

That trash is long overdue.
You need a thorough review.
Your tax-free salt stimulated our wounds
We gonna sue you, the Congress shoe.

Gone half-cuckoo, you called us names,
You dubbed us pariahs—“Harijans”
goody-goody guys of a bigot god
Ram Ram Hey Ram—boo.

Don’t ever act like a holy saint.
we can see through you, impure you.
Remember, how you dealt with your poor wife.
But, they wrote your books, they made your life.

They stuffed you up, the imposter true.
And sew you up—filled you with virtue
and gave you all that glossy deeds
enough reason we still lick you.

You knew, you bloody well knew,
Caste won’t go, they wouldn’t let it go.
It haunts us now, the way you do
with a spooky stick, a eerie laugh or two.

But they killed you, the naked you,
your blood with mud was gooey goo.
Sadist fool, you killed your body
many times before this too.

Bapu, bapu, you big fraud, we hate you.

First imagery of poem:

When I read this poem at first I'm confused about what the speaker actually wanted to say: is she in favor of Gandhi or criticizing him? Reading further I solved my confusion, Poem is about critiquing Gandhiji by Dalit people and the title itself was highlighting disrespect of Gandhiji.

Problematic Words and lines:

1)‘Enough taboo’, ‘gooey goo’, I searched these words but I can't understand what I choose.

2) ‘goody-goody guys of a bigot god

Ram Ram Hey Ram—boo.’ (lines from 3rd stanza)

‘It haunts us now, the way you do

with a spooky stick, a eerie laugh or two.’

(lines from 6th stanza) I can't get the real meaning of these lines which are appropriate to the poem.

Summary:

It paints a picture of Gandhi as an imperfect and impure person who perpetuated casteism, mistreated his wife, and was nothing more than a false icon of sainthood conjured up by others. The speaker criticizes the worship of Gandhi, pointing out unsolved social issues such as caste oppression and ridiculing his commitment to non-violence and truth. The tone oscillates between disdain and anger, finally culminating in outright hatred for Gandhi.

Analysis:

#Sense:- The poem expresses a profound disillusionment with Gandhi and his legacy. The imagery is raw and visceral, using metaphors like "tax-free salt stimulated our wounds" to critique his symbolic acts, like the Salt March, as insufficient and even harmful. The repetition of phrases like "you knew" emphasizes a betrayal, suggesting Gandhi was aware of the systemic injustices yet failed to address them adequately.

#Feeling:- The poem is the mix of emotions like anger, frustration, and betrayal. While the speaker seems to take up the voices of marginalized people by Gandhi's act or omission, he takes up the issues of caste and the controversial aspects of his personal life.

#Tone:- The tone is mocking of The saintly image of Gandhi stripped bare and all his faults are brutally revealed. Satirical elements come through lines like "Ram Ram Hey Ram—boo," where the iconic moments and symbols of Gandhi are mocked.

#Intention:- To deconstruct Gandhi’s legacy: It seeks to challenge the glorified narrative surrounding Gandhi, highlighting his contradictions and failures. To provoke critical reflection: This poem demands an assessment of what Gandhi truly achieved and how his acts affected the oppressed by unveiling the persistence of caste oppression and other unresolved issues.

Metaphors used in poem:

1)“Your tax-free salt stimulated our wounds”- The symbolic act of the Salt March is likened to rubbing salt into wounds, implying that it aggravated existing issues rather than healing them.

2)“Spooky stick, a eerie laugh or two”-Gandhi’s iconic walking stick and his perceived legacy are turned into haunting images, portraying him as a ghostly figure whose influence persists in a troubling way.

3)“Stuffed you up, the imposter true”- Implies that his image as a saint was manufactured rather than genuine.

4)“Caste won’t go, they wouldn’t let it go”- it was Emphasizes the enduring nature of systemic inequality and questions Gandhi’s efficacy in addressing it.

References:

https://www.researchgate.net/publication/377146653_IA_Richards_-_Figurative_Language_-_Practical_Criticism