Monday, December 30, 2024

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.




Friday, December 27, 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:

Wednesday, December 25, 2024

War Poetry

 War Poetry

Hello everyone this blog is a response to a thinking activity task assigned by Prakruti Ma’am.





#One poem from the English literary canon which deals with the theme of war and compare it with any one of the five war poems you have studied in this unit. [Discuss aspects like the style of the poems, language employed, treatment of the theme of war, etc.] 


War poetry occupies a very important position in the English literary canon, capturing the multifaceted experiences of war, its heroism, tragedy, patriotism, and futility. 


Among the most renowned contributions are Rupert Brooke's "The Soldier" and Alfred Lord Tennyson's "The Charge of the Light Brigade." While both celebrate the bravery of soldiers, they differ greatly in tone, style, and their treatment of war.


In "The Soldier," Rupert Brooke portrays war as an exalted and spiritual venture. The poem is a moving reflection on the ultimate sacrifice made by soldiers, where death in battle becomes a redemptive act. Brooke sees war as an opportunity for eternal unity with one's homeland, England. His perspective is patriotic and idealistic, as he write : 

“If I should die, think only this of me:
That there’s some corner of a foreign field
That is forever England.”

As a matter of fact, war is portrayed by Brooke through honor and the spiritual attachment between a soldier and their homeland. Death is meant as a way to enrich foreign soil with “English dust”.

In “The Charge of the Light Brigade” by Tennyson explores war from both heroism and futility. The poem is based on a specific historical event in the Crimean War, which was the ill-fated charge of British cavalry because of a miscommunication, where Tennyson underlines the bravery of the soldiers but also shows the cost of human error. As he writes:

"Someone had blundered,"

He underlines the tragedy of the circumstance. At the same time, the poem celebrates the valor of soldiers who faced virtual death with unwavering courage:


“Into the valley of Death ,Rode the six hundred.”


Whereas Brooke universalizes the experience of war, Tennyson grounds his narrative in a historical specificity of both grandeur and grim realities of the event.


Style and structure

Brook's "The Soldier" also is a sonnet because this form is traditionally characterized as love and reverence. This structure, an octave followed by a sestet, allows for contemplative reflection on death and what it means. With such a choice, a sonnet takes on a formal, reflective tone that deepens its idealistic message. Using iambic pentameter also adds further ornament and structure to the poem, perfecting its theme of sacrificing one's self for patriotic ends.


While Tennyson uses the balladic structure but a strong rhythm of running horses in "The Charge of the Light Brigade" while the poem's very rhythm and repetition ("Half a league, half a league") are what tell of the charge as it surges forward, with no movement that can stop, no turning back. The irregular line lengths create the sense of confusion and chaos of warfare and bring the reader in among the action. While there is quiet reflection in Brooke's sonnet, there is drama and even urgency in Tennyson's ballad.


Treatment of war 

Brooke's "The Soldier" takes war only as an instrument to guarantee eternal peace and unity with homeland. Tone is calm, respectful as he speaks highly of the spiritual benefits drawn from death without going as far to describe the carnage war brings.

Then there is Tennyson's "Charge of the Light Brigade," on the other end of things. While paying homage to brash courageousness of such soldiers who were needlessly killed for the misadventure. The line,

 “Theirs not to reason why, Theirs but to do and die” 

shows the unquestioning obedience of soldiers and the tragic cost of war. The fact that Tennyson brings out both the heroism and the human cost of conflict makes his treatment a more complex exploration of war.


How are they different? Are there any similarities?

Despite the difference between these two poems, they also share some similarities. The two poets honor the brave and sacrificial soldiers in their poems by depicting them as symbols of national pride. Each of the poems reveals a sense of close attachment to England and of duty toward the mother country. Both immortalize the soldiers, but through differing approaches: Brooke by spiritual idealism and Tennyson through historical valor. However, the tone, imagery, and perspective on war separate the two poems. Brooke's tone is reflective and calm, whereas Tennyson's is urgent and dramatic. Brooke uses peaceful, pastoral imagery, whereas Tennyson uses vivid, battle-focused descriptions. Finally, Brooke idealizes war as noble and redemptive, whereas Tennyson acknowledges its dual nature as both heroic and tragic.


# “War poetry is not necessarily ‘anti-war’. It is, however, about the very large questions of life: identity, innocence, guilt, loyalty, courage, compassion, humanity, duty, desire, death.” Discuss this statement in the context of any two of the war poems you have studied.


War poetry does not always promote an anti-war voice. In fact, these poems more often than not address serious questions regarding the nature of humankind, especially identity, innocence, guilt, loyalty, courage, and even death. This can indeed be proved with two contradicting war poems: the first being Wilfrid Wilson Gibson's "The Fear" and the latter Siegfried Sassoon's "The Hero." These pieces really represent that complex nature of war itself and, thus, diverge from merely condemning situations to focus on the inner lives.


Identity and Innocence

In "The Fear," Gibson has discussed the erosion of identity and the effects of fear on the psyche of a soldier. The poem is full of a group of soldiers paralyzed by terror as they wait for their fate. The soldiers' collective experience reduces their individuality and makes them faceless representatives of human vulnerability. Innocence is taken away by the harsh realities of war, leaving behind a haunting sense of loss.


Similarly, "The Hero" looks at identity but from a posthumous perspective. Sassoon contrasts the image of a soldier as perceived by his grieving family with the grim reality of his death. The mother is told her son died a hero, while the truth—his fear and inglorious demise—is concealed. This juxtaposition questions the societal narratives that idealize soldiers while masking the emotional and physical toll on their humanity


Guilt and Duty

Both poems deal with issues of guilt, but do so in different ways: in "The Fear", the soldiers are grappling inwardly with their instincts and the demands of being soldiers. The emotional weight to survive, at the loss of comrades or their ideal, creates an undercurrent of moral conflict.


In "The Hero," there is clear guilt in the calculated lie told by the officer to the grieving mother. It lays bare a disconnection between the glory of the narrative of war and the bitter truth about it, and makes one confront ethical compromises that go into maintaining morale and safeguarding illusions about society.


Courage and Humanity

Gibson's "The Fear" emphasizes that the best of courage in the face of overwhelming fear is frail. The poem never praises braveness, but shows soldiers as a human creature consumed by this natural and inevitable fear of death. This focus on humanity tears away the romantic varnish of war to show the emotional cost.


Conversely, Sassoon's "The Hero" depicts a type of bravery that is found in the recognition of vulnerability. The hero's fear and failure do not take away from his humanity but rather make the tragedy of his sacrifice all the more poignant. By exposing the chasm between what society expects and what the soldier lives, Sassoon expands the concept of heroism to include the unvarnished truth of human weakness.


Compassion and Death

Compassion takes various forms in these poems. In "The Fear," it manifests as a mutual vulnerability of the soldiers that binds them in their pain. The poem suggests that even in the dehumanizing conditions of war, the shared burden of fear fosters a collective sense of humanity.


In "The Hero, compassion is ironic. The lieutenant's lie to the widowed mother can be depicted as merciful, and yet it makes clear what lies between the front lines and the home front, where death becomes not the physical end but a big emotional and moral event as it raises questions about death's meaning and consequences.


#Compare Ivor Gurney's The Target with Wilfred Owen's Dulce et Decorum Est. What are some notable similarities and differences between these two war poets and their poetry?

Ivor Gurney's The Target and Wilfred Owen's Dulce et Decorum Est are both strong poems that meet head-on the harsh realities of war, but do it in different styles and from different perspectives.


Similarities:

1)Anti-War Sentiments: These two poems express a sense of anti-war. Both Gurney and Owen reject the glorification of war and its impact on soldiers. In The Target, Gurney depicts a scenario in which soldiers have been reduced to targets- something they are vulnerable to. Owen's Dulce et Decorum Est critiques the romanticized notion of dying for one's country, especially in the context of the old Latin phrase "Dulce et decorum est pro patria mori" (It is sweet and proper to die for one's country).


2)Graphic Imagery: Both poets utilize imagery that is vivid and frequently disturbing to describe the horror of war. The vivid descriptions of soldiers having a hard time putting on their gas masks during the chemical attack in Owen's Dulce et Decorum Est, and Gurney's The Target, through images of soldiers as targets and the dehumanizing aspect of violence in war, convey the harsh realities of war.


3)Focus on the Soldier's Experience: These two poems focus on individual experience rather than abstract political or strategic concerns. It focuses on the psychological and physical trauma that soldiers experienced, and both poets draw upon their personal experiences in World War I to shape their views of the war.


Differences:

1)Tone and Mood: In Gurney's The Target, the tone is darker and resigned and has an air of inevitability. It also points out the futility and senselessness of war where a soldier's fate seems sealed in becoming a "target" for enemy fire. The mood is bleak and almost silent despair.


Owen's Dulce et Decorum Est: Owen has used a more urgent, visceral tone to describe the horror of war. The vivid descriptions of the gas attack and the suffering of the soldier are so shocking and outrageous. The mood is more intense and filled with outrage against the false glorification of war.


2)Structure and Style: Gurney's The Target: Gurney's poem is shorter and mysterious, and it employs the metaphor of a target for the soldier's vulnerability. It is brief and contains limited words; the shortness creates a chilling effect because the reader is left to guess at the complete meaning of the soldier's fate.


Owen's Dulce et Decorum Est: Owen's poem is more complex in structure and longer, using a closely controlled meter and rhyme scheme that contrasts with the chaotic imagery he describes. The shift in tone at the end of the poem—from the graphic descriptions of war to the bitter denunciation of the "old Lie"—adds to its emotional power.


3)Personal Experience and Perspective:

Gurney: Gurney's soldierly experience was intertwined with his personal mental health struggles, and his poems often reflect a more inner, psychological exploration of war on the individual. In The Target, the plight of the soldier is framed less in terms of physical horror and more in terms of his isolation and futility in war.

Owen: On the contrary, Owen is famous for his detailed, exterior description of the brutalities of war, especially on its physical level. In Dulce et Decorum Est, he famously criticizes the patriotic narratives that hide the horrors of war, focusing instead on the outward physical sufferings of soldiers.


Although Gurney and Owen use impressive imagery in condemning the awfulness of war, in The Target Gurney is far more oblique and reflexive in presenting the dehumanizing effects and certainty of death about soldiers, while Owen, in his Dulce et Decorum Est, is almost confrontational and graphic using vivid imagery in suffering to criticize the idea of war's nobility. Both poems contribute to the global discourse on the traumatic after-effects of war, and yet they both do that in their own unique yet resonant ways.


References: 

Gurney, Ivor. The Target. The Collected Poems of Ivor Gurney, edited by P.J. Kavanagh, Carcanet Press, 1982, p. 109.


Owen, Wilfred. Dulce et Decorum Est. The Poems of Wilfred Owen, edited by Jon Stallworthy, Norton, 1983, p. 56.

Tuesday, December 24, 2024

T.S.Eliot's essay

 T.S. Eliot’s essay "Tradition and the Individual Talent




Hello everyone this blog is a response to a task assigned by the head of the Department of English (MKBU), Prof. and Dr. Dilip Barad Sir. Here is the link to the professor's research article for background reading: Click Here 


T.S. Eliot’s essay "Tradition and the Individual Talent," first published in The Sacred Wood (1922), remains a cornerstone of literary criticism. In this essay, Eliot introduces concepts such as the historical sense, the interplay between tradition and individual talent, and the theory of depersonalization in art. Below, we explore these ideas in detail, supported by relevant quotes from the text.


The Concept of 'Tradition'

Eliot’s understanding of tradition diverges from the conventional notion of mere adherence to the past. For Eliot, tradition is a dynamic relationship between past and present:-  “The historical sense involves a perception, not only of the pastness of the past but of its presence.”


This implies that tradition is not static but an evolving continuity. Writers must engage with the literary canon while contributing something novel. Tradition, as Eliot sees it, requires writers to integrate the timeless and the temporal. The works of Homer, Dante, or Shakespeare, for instance, serve as a foundation for contemporary creativity.

Do I agree with Eliot's view of tradition? Yes, in part. Eliot’s emphasis on the historical sense encourages a deep engagement with literary history. However, one could critique his model for potentially marginalizing non-Western traditions or alternative voices. Eliot’s focus on a Eurocentric canon limits the inclusivity of this literary continuity.

The 'Historical Sense'

The historical sense is central to Eliot’s theory. He writes:

“This historical sense, which is a sense of the timeless as well as of the temporal, and of the timeless and of the temporal together, is what makes a writer traditional.”

Here, Eliot suggests that great writers possess the ability to connect the enduring truths of human experience (the timeless) with the unique challenges of their era (the temporal). This dual awareness enables them to enrich tradition.

Relationship Between Tradition and Individual Talent

Eliot’s concept of tradition is intrinsically tied to individual talent. He argues that originality emerges not in isolation but in dialogue with the past. A writer’s talent is measured by their capacity to assimilate tradition while innovating within it. 

He states: “The existing monuments form an ideal order among themselves, which is modified by the introduction of the new (the really new) work of art among them.”

This interdependence underscores Eliot’s belief in the mutual transformation of the past and present. The canon reshapes new works, and new works, in turn, influence the canon.

Analysis of Key Quotes

  1. “Some can absorb knowledge, the more tardy must sweat for it. Shakespeare acquired more essential history from Plutarch than most men could from the whole British Museum.”

This observation highlights the innate genius of Shakespeare. Eliot implies that certain individuals possess an extraordinary ability to distill complex ideas effortlessly, unlike others who laboriously accumulate knowledge. Shakespeare’s engagement with Plutarch’s Lives demonstrates how a creative mind synthesizes historical material into timeless art.


  1.  “Honest criticism and sensitive appreciation are directed not upon the poet but upon the poetry.”

Eliot insists on the autonomy of the text. For him, the value of a poem lies in its intrinsic qualities rather than the personality or biography of its creator. This approach shifts the focus from subjective interpretation to objective analysis, emphasizing form, structure, and meaning.

The Theory of Depersonalization

Eliot’s theory of depersonalization likens the creation of poetry to a chemical reaction. In this analogy, the poet’s mind serves as the catalyst (like platinum) that facilitates the fusion of emotions and experiences into poetry. Crucially, the poet’s personality does not interfere with the final product:

“Poetry is not a turning loose of emotion but an escape from emotion; it is not the expression of personality but an escape from personality.”


This theory underscores Eliot’s belief in objectivity. The poet’s role is to craft art that transcends personal feelings, achieving a universal resonance.

Critique of Eliot’s Ideas

While Eliot’s insights are profound, they are not without limitations. Two points of critique include:


Eurocentric Bias: Eliot’s framework privileges the Western canon, potentially excluding diverse cultural voices. This narrow focus limits the universality of his principles.

Impersonal Art: While depersonalization seeks objectivity, some critics argue that it downplays the significance of individual experience and emotional authenticity in art.

Conclusion

Eliot’s "Tradition and the Individual Talent" offers a compelling framework for understanding the interplay between literary history and creativity. His emphasis on the historical sense, tradition, and depersonalization challenges readers and writers to rethink the essence of art. However, the framework’s limitations remind us to engage critically with his ideas, adapting them to the broader cultural and literary contexts of our time.


References:-


Eliot, T. S. The Sacred Wood: Essays on Poetry and Criticism. Methuen, 1922.

Eliot, T. S. "Tradition and the Individual Talent." The Sacred Wood: Essays on Poetry and Criticism, Methuen, 1922, pp. 42-53.

https://www.researchgate.net/publication/377083958_Tradition_and_Individual_Talent_-_TS_Eliot  


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 nove...