Paper-I. Texts for detailed study are listed below. Candidates will also be required to show adequate knowledge of the following topics and movements:

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1 Paper-I Texts for detailed study are listed below. Candidates will also be required to show adequate knowledge of the following topics and movements: a) The Epic and the Mock-epic b) Neo-classicism; c) Satire; Contents 1. Neo-Classicism and Satire Page 1 2. Satire and epic of Jonathan Swift Page 2 3. Mock-epic : Alexander Pope ( ) Page 3 4. Short note on Satire (downloaded ) Page 9 5. Comedy of Manners and The Way of the World by Congreve As a Comedy of Manners Page 10 Neo-Classicism and Satire 1. Neo-classicism is the period from 1660s, when a new adoption of classical literary form was attempted by representative writers. Earlier English literary writers had strictly confined themselves to rules laid down by ancient Greek and Italian classical writers and by the French critics. Jonathan Swift, Pope, and Samuel Johnson had their own views about the classical rules, and adopted them as an expression of a new national literary identity. Importance was given to things, instead of words. This brought about a conversational prose used in new literary forms of the novel, biography, history, travel-writings, and journals. 2. John Dryden had moved away from ancient classism, with queries about the making of the poem art form and the importance of the person behind the poem. But he did not propagate total lawlessness. He followed the view that rules were made only to reduce Nature into a method. Therefore, they were rational principles founded 10x10learning.com Page 1

2 in good sense and reason. All arts were imitation of Nature. As Nature was a constant through the ages, the rules too retained their validity. However, these could not be treated as laws. 3. In 1697, there was a great literary dispute about Ancient and Modern learning. Temple s essay Of Ancients and Modern Learning had praised the ancients and insisted that no advancement to learning had been made thereafter. W. Wotten had replied to this essay with an Appendix by Dr. Bentley, which denied the antiquity of Aesop and Phalanis. Charles Boyle was denied access to one of the ancient manuscripts from St. James Library by Dr. Bentley, keeper of the Library. 4. This dispute has been allegorised by Jonathan Swift, in his The Battle of the Books, by making the ancient and modern books in St. James Library, join the fray in an inconclusive battle of books. Swift adopts the satire form to give A Full and True Account of the Battle Fought Last Friday. 5. Satire is a form of imitation, in which criticism and humour coexist. Satire ridicules with the intent to improve. Among the classical Greeks, Horace had prescribed epistolary satire as the norm for poetry, while Aristotle had prescribed tragedy. In contrast to satire, parody is a caricature of some serious subject. Its only intent is to ridicule. Caricature or burlesque is a method of speech or writing, in which a serious thing is made to seem foolish, or a foolish this is treated with exaggerated seriousness, so as to incite laughter. Satire, on the other hand, exposes to discredit, and as such, it is a literary weapon. 6. All the elements of mock epic are found in the satires. The Muse is invoked periodically, epic numbers three and seven are repeated, epicsimiles are used, warriors are listed and arranged in ranks. Gods take 10x10learning.com Page 2

3 sides and intervene in the quarrels of men, Goddesses are described with mock respect, and new ones are created where old ones do not suffice. 7. The best example of Satire is The Battle of the Books, by Jonathan Swift. He uses a series of allegories to highlight the differences between the ancient and modern writers in a mock-epic style. Use is made of fables, metaphors, sarcasm, pun, irony, and analogies that effectively dramatize the arguments by juxtaposing a comic scene with dialogues. 8. For example the fable of the Spider and the Bee, is used. The enormous spider, parked in the central lodging of his web castle, and having access through the window, is safe from the swallows above and the brooms below. This fortification is disturbed by the Bee, who accidently breaks the outer wall of the spider s castle. The spider asks if the bee thought he had no other work but to repair the damages caused by the bee. The bee replies by vowing never to go near the spider s kennel. This reference to the web as a kennel, links this allegory to the first allegory of the dogs, in the book. The spider objects to this reference, and wants to teach the bee better manners. He calls it a vagabond without house or home, without stock or inheritance. 9. This conversation denigrates into a debate and a battle of words, till the Bee flies off. The confrontation is watched by the Books, with the spider representing the ancients and the bee the moderns. The allegories effectively convey the battle of books through use of analogies, irony, pun and sarcasm. An allegory is akin to metaphor and its method is the personification of an idea. Swift s 10x10learning.com Page 3

4 expertise is revealed at sustaining the analogy of the battle in elaborate details, and working out the metaphor to perfection. Epic and Mock-epic 10. Satire is a form of imitation in which criticism and humour coexist. Satire ridicules with the intent to improve. When Satire is written in poetic form, it is called a verse satire. This form was developed by John Dryden, and used by Alexander Pope and Byron. Dryden and Pope s verse satires are personal satire directed towards particular individuals. The lucid, conversation style adopted by Dryden, mark him as the most influential writers of his times. He combined the familiar with the reflective, aiming to delight at truth and justice, nature and poetry. 11. Alexander Pope put the verse satire form to best use. Leaving aside philosophising and moralising, Pope used wit as a powerful tool. In Elizabethan times wit was liveliness and brilliance in conversation. In neo-classical times, wit became a powerful critical concept and a basis for value judgement. Dryden defined wit as sharpness of conceit. Pope combined the classical epic form with satire and wit of the neo-classic age, and called it mock epic. 12. In mock- epic, the poet was more involved in the delights of intellectual penetration and dismissive speed. The even paced equanimity of the epic style, was replaced with pomposity, and dignified respect was replaced by exasperated familiarity. Pope defended his attempt at making criticism as the subject matter of poetry. He also successfully combined poetry and criticism to make them look almost inseparable. 10x10learning.com Page 4

5 13. The mock heroic was the preferred style of late seventeenth and early eighteenth century satiric writings. Alexander Pope ( 1688 to 1744) in The Rape of the Lock uses an elevated style ironically to create comedy out of a commonplace action of clipping of a lock of a Lady s hair, by her admirer. Through the diction, conventions and situations of classical literature, especially of the Greek and Roman epics, and Milton s Paradise Lost, the mock heroic style is used to satirise and laugh at the follies and foibles, artificiality and triviality of 18 th century high society life style. 14. In sum, the classic age concentrated on brevity and precision, without creativity, originality or spontaneity, and adhered to the three unities and the validity of poetry norms. The writers of Neoclassicism used satire not only as a literary tool or weapon to improve the existing social norms, but it made criticism, wit, satire, the subject matters of their mock epic poetry. Alexander Pope s The Rape of the Lock as a mock epic 15. An epic is a long, narrative poem that is exalted in style and heroic in its theme. Feature of an epic include: (a) Announcement of the theme by the poet (b) Invoking the help of the Muse, and asking her an epic question (c) Beginning the story with her reply. (d) The action usually concerns a hero, or a man of great stature and social significance. (e) This hero performs many notable deeds, one of which is to descend to the underworld. 10x10learning.com Page 5

6 (f) Major characters are listed and described, and they make dignified speeches, that reveal their character. (g) There are usually great battles in which gods participate. (h) The style of narration is elaborate and dignified, and suitable to the theme. 16. The Rape of the Lock, is divided into five cantos as per the tradition of a classical epic, but uses the mock epic form. Beginning with the solemn statement of his theme, Pope introduces the usual epic features, such as supernatural machinery, grand speeches, and battles. The theme is stated to be to write of the great conflicts that are caused by insignificant events. He informs the Muse that Caryll had suggested the poem in order to reconcile two warring families, and Belinda had inspired it. These devices are used to describe the trivial occupation of an elegant afternoon. 17. He portrays human foibles in a grand, poetic form to cause laughter. Unusual poetic subjects such as immaturity, false pretence, lack of understanding, fixed behavioural patterns, constitute the subject matter of mock epics. Great merriment is provided through the grave tone of deep satire, presented in the form of lofty ideas and wit, to convey the poet s contempt for them. It is made ridiculous by treating it with the elaborate and dignified devices of the epic. 18. The supernatural machinery is present in the form of guardian Sylph, who assure Belinda that she is protected by a thousand spirits who roam through the airy regions. Then the world of sylphs is described. Some sylphs guide the movement of planets and control the weather, while others guard young girls honour. They do this by protecting the powders on her face from the breezes and preventing the perfumes from evaporating, and similar activities. 10x10learning.com Page 6

7 19. The opening Canto also sets the atmosphere of the poem a sophisticated genteel society of the rich, that is always charming and witty. Superficial values govern the lives of these people. The poet implies a satiric comparison of misunderstanding between the two families with the great Trojan War. The sylphs are invoked as part of the supernatural machinery, their concern with the young girls virtues is effectively used to expose the vanities and superficialities of the society. Sexual morality is treated in a casual manner. The girl s heart is compared to a toy shop, and her virtue is easily available. It must therefore, be constantly guarded with diligence... beware of all, but most beware of men! 20. The elaborate description of Belinda s dressing table suggests a religious involvement in the ritual before the mirror. Comic effect is achieved by the reference to Bible. This indicates a careless attitude to serious religion. Belinda is referred to as the goddess of beauty, who is attended to by lesser priestesses, while grooming. Her eyes are described as brighter than the light of the sun. 21. The grooming scene of Belinda also implies preparation of war, in the description of rows of shining pins, Puffs, Powders, Patches, Billet-douse, which invoke an image of rows of men in shining armour, ready for a battle. The grand description is continued in the narrative of her barge floating down the Thames. This is a parody of Shakespeare s description of the barge of Cleopatra down the Nile. Belinda s beauty is the subject of everyone s gaze, and her smile for everyone makes her vulnerable. The elaborate arrangement of her hair, catches the fancy of a young baron. He vows to take possession of them and prays that he wins his prize soon, but be able to hold it for a long time. Soon to obtain, long posses the prize. 10x10learning.com Page 7

8 22. Pope heightens the satire and jolts expectations, without straining the idiom, through description of different duties that get assigned to various sylphs. Ariel orders his sylphs, threatening terrible punishments to any who fails in his assigned task, is similar to Satan in Milton s Paradise Lost. It is also important for its rich images. Sylphs are assigned to protect Belinda s favourite curl,, her petticoat and honour, her necklace, and to prevent her from losing her heart. These assignments are perfectly idiomatic, and echo the threats to Ariel in Shakespeare s The Tempest. 23. Towards sundown, in Hamilton Court Belinda begins to look forward to the game of cards. The game is described in terms of a major battle and sylphs take their positions. Pope gives a long and accurate description of the game as an epic battle. The card table is the velvet plain. Belinda s spade leads the attack, but the Baron s Queen of spade subdues the King of Clubs and his Diamonds win over an array of Clubs, Diamonds and Hearts. Belinda is saved from total ruin by the King of Hearts, and her shouts of victory echoes through the gardens. 24. Thereafter, during the coffee session, the Baron succeeds in snipping off Belinda s curl. The description here is a parody of the chivalric tradition. The baron is given a pair of scissors in a manner that parallels the arming of knights by ladies, for a battle. The immediate result is horrified cries of protest : Not louder shrieks to pitying Heav n are cast, / When Husbands or when lap dogs breath their last. But the curl is lost forever, and the baron cries out the triumphant knowledge of the immortality that is assured to him. The loss of a lock of hair is compared to the loss of an empire and is a part of the poetic intention of the mock epic. 10x10learning.com Page 8

9 25. In Canto IV, Pope uses the epic convention to further the purpose of heightening the conflict between sexes. The weeping sylphs leave the scene, and the gloomy spirit descends to the spleen. This is a parallel to the epic journey to the underworld. Spleen gives Umbriel a bag of sighs, sobs and quarrels, which is released upon Belinda, by her friends. They all together bitterly lament the loss of her lock. Belinda plunges into despair, deeper than that felt by young kings In battle seized alive. 26. This is followed by a comic battle of the sexes. Beaus and gentlemen are slain by the glances from the young ladies. Belinda attacks the Baron with snuff and reduces him to tears and sneezes. She draws out a hair pin that becomes a dagger. In the confusion the lock is irretrievably lost. Belinda is advised to stop her lament because the lock has now become immortal, through the Muse of Poetry. The lost curl will be consecrated to fame and Belinda will thus become immortal. Pope ends his mock epic The Rape of the Lock with good sense prevailing over passion. The drama closes with all ends to the plot drawn together to resolve the conflict. Downloaded write up on Satire for additional reference 1. Satire is a genre of literature, and sometimes graphic and performing arts, in which vices, follies, abuses, and shortcomings are held up to ridicule, ideally with the intent of shaming individuals, corporations, government or society itself, into improvement. Though satire is usually meant to be humorous, its greater purpose is often constructive social criticism, using wit to draw attention to both particular and wider issues in society. 2. A feature of satire is strong irony or sarcasm. "In satire, irony is militant". Parody, burlesque, exaggeration, juxtaposition, comparison, analogy, and double entendre are all frequently used 10x10learning.com Page 9

10 in satirical speech and writing. This "militant" irony or sarcasm often professes to approve of (or at least accept as natural) the very things the satirist wishes to attack. 3. Satire is nowadays found in many artistic forms of expression, including literature, plays, commentary, television shows, and media such as lyrics. Show how The Way of the World is a comedy of manners with a new snap and glitter? Answer 2. Comedy is broadly, divided into (a) Satirical comedy (b) farcical comedy (c ) Comedy of Manners (d ) Comedy of Humours (e) Sentimental comedy and (f) Romantic comedy. 1. Comedy of Manners is almost wholly intellectual. It is also wholly aristocratic. The manners displayed are not those of men in general, as in the case of Jonson s Comedy of Humours, but they are the manners of affectation of high society. These Manners were not an individual trait but the formality adopted for distinguishing the royal and noble class from the rest of the population. As a very large portion of time of this high society was spent in palace or love intrigues, the society was careless about its morals. Therefore, the Comedy of Manners depicts an air of abandon and of immorality, and mirrors the high class morals of their Age. 2. The object of the Comedy of Manners was to display the fashionable life of their time, and not the superior mental or moral qualities. Best comedies reflect the spirit of their age. In the Comedy of Manners we are in the world of artificiality, where social conventions are predominant, and social manners rule all behaviour. At another level we are faced with reality which impresses because of the artificial world with which it intermingles. 3. Due to the influence of Moliere of the French Court, Comedy of Manners aimed at presenting a veneer of the formalized court live and society in a faithful manner. It does not aim to reforming the society by satirizing the follies as was done by Comedy of Humours. The 10x10learning.com Page 10

11 satire in Comedy of Manners is present, but it is secondary to the sharp and witty dialogues. 4. Congreve s comedies of manner are pervaded with a comic spirit having brilliance, grace and style. There is no grossness or obscenity, but there are remarkable and scintillating flashes of brilliant dialogues and rich witticism. 5. The Way of the World presents the essence of the upper class existence and is therefore, not artificial to its context. There is directness, incisiveness, brilliancy and ease in its dialogue. The characters belonging to the accepted categories of nobles, gallants, ladies of fashion and intrigue, are all conceived with an air of distinction. He especially excels in portraying women. 6. In The Way of the World characters fall into groups, and the movement of the plot is symmetrical. On one side is the ideal pair of lovers in Mirabell and Millamant, who are contrasted with adulterous pair of Fainall and Mrs Marwood. Lady Wishfortis the central figure, controlling other characters in more than one way. Millamant is the perfect portrait of a coquette in her resistance to Mirabell, and in the manner of her conditions for marrying him. Her wit is a sign of her intelligence, and her affectation is the cloak of affection. Her coquetry conceals a nature capable of a whole hearted love. She can act as a fine lady to perfection. She can make wit, the be-all and end-all of her life. Yet, fundamentally, she is a sensitive woman. 7. In contrast, Lady Wishfort is a full length portrait of an old coquette. She is depicted in her various moods, her spirited encounters with her maids, her indulgence of her nephew, her romantic friendship with Mrs. Marwood, her selfish affections for her daughter, her plaintive surrender to Mirabell, and her languid reception of Sir Rowland. She has an extra-ordinary vitality, and possesses a keen sense of humour, a cutting irony and shrewdness. For example, when she is ready to receive Sir Rowland, she tries to assess the best way to make her first impression whether by lying on the couch or seated in profile, or walking and turning on him, face to face. 10x10learning.com Page 11

12 8. The Way of the World is the perfect example of comic endeavour of a certain type. Congreve s focus and object of employing humour is to lighten the burden of life. His prose style is highly effective on stage. Congreve endows the characters with wit and humour, that is always polished, refined and subtle. Millamant s affected and fascinating character study, imparts to all servants, fools, lovers, -an air of modish triviality which belongs to the best scenes of the Comedy of Manners. 9. There is no harshness in The Way of the World. The wit of the hero and the heroine is more a sill in repartee than inventiveness. Congreve as the true wit, accepts, understands and masters the conventions of his World. This enables him to control the destiny of his characters. This is expressed finally in the achievement of marriage which is the willed and free acceptance of hero on equal terms. The play presents a shower of brilliant conceits. 10. The two main devices utilized to create humour in Comedy of Manners, are exaggeration and incongruity. Lady Wishfort s attempts to look younger through make-up and dresses, makes her an object of humour. The contrast between the brilliant Millamant and the crude country knight, Sir Wilful Witwoud, is another source of humour in The Way of the World. Petulant and Witwoud who try to masquerade as witty gallants, create a lot of humour. Waitwell s impersonating as Sir Rowland to woo Lady Wishfort, is a good example of comic situations in the play. 11. The new snap and glitter in the play is provided mainly through superbly pleasing dialogues. All characters are best revealed in the vivacity of their language. Congreve stands alone in creating characters by diction and rhythm. For example, the conditions laid down by Millamant for marrying Mirabell, transmutes the common place into great dramatic dialogues. The style of the play is beautifully varied and voices are all distinct. Mirabell s meditations are almost poetic. Witwoud is gushing and effeminate in his frantic pursuit of similitude. The pretentious diction of Lady Wishfort, the elaborate 10x10learning.com Page 12

13 pretences of Mrs Fainall, the corrosive bitterness of Mrs Marwood, and the malicious exchanges between Marwood and Millamant, impart variety to female voices in the play. The servants too have their special accents. Foibles blends impudence with flattery. Mincing struggles to be genteel. 12. The whimsical manner of speech of Millamant is unmistakeably hers. Her flippancies are charged with meaning and Congreve attains the highest model of comic dialogue. There is a peculiar flavour in his words that is not found elsewhere in the Comedy of Manners. These new snaps and glitters of language is an achievement of Congreves as well as of Comedy of Manners. 10x10learning.com Page 13

Where the word irony comes from

Where the word irony comes from In classical Greek comedy, there was sometimes a character called the eiron -- a dissembler: someone who deliberately pretended to be less intelligent than he really was,