Analysis of selected War poems

Name:- Rinkal Dangar 

Roll No:- 18

Semester:- 2 (Batch 2022-24)

Enrollment number: - 4069206420220007

Paper No:- 110

Paper name: History of English Literature – From 1900 to 2000

Paper code:- 22403

Topic: - Analysis of selected War poems 

Submitted to:- Smt. SB Gardi Department of English, Maharaja Krishnakumarsinhji Bhavnagar University

Date of Submission:- 31/03/2023

Email Address: - dangarrinkal0609@gmail.com

Introduction:

Ivor Gurney and Siegfried Sassoon as War Poets

Ivor Gurney and Siegfried Sassoon were both war poets who wrote about their experiences in World War I.

Ivor Gurney was a British composer and poet who served in the war from 1915 to 1917, when he was wounded and sent back to England. His poems often focused on the soldiers' experiences in the trenches and the psychological toll of war. Some of his notable poems include "To His Love," "The Silent One," and "Severn Meadows."

Siegfried Sassoon was also a British poet and soldier who served in the war from 1914 to 1917. He became a vocal critic of the war and its leaders, and his poetry often reflected this disillusionment. Some of his notable poems include "The General," "Counter-Attack," and "Suicide in the Trenches." Sassoon's writing was influenced by his close friend and fellow war poet Wilfred Owen.

Both Gurney and Sassoon were deeply affected by their experiences in the war and used their poetry as a means of expressing their emotions and opinions. They both wrote vividly about the horrors of war and the impact it had on those who fought in it. Their poetry remains an important record of the experiences of soldiers in World War I and a reminder of the devastating consequences of conflict.

“The Hero”

“The Hero” by the English poet Sigfried Sassoon (1886-1967), is one of the many notable lyrics Sassoon wrote in response to World War I. Sassoon himself was a war hero, known for his unusual bravery, but eventually he turned against the conflict which he came to consider as pointless and badly managed. This poem reflects his disillusionment with the war.

The poem was first published in 1917 in Sassoon's collection "Counter-Attack and Other Poems." It reflects the disillusionment and bitterness felt by many soldiers who were sent to fight in the war, and the way in which they were often idealized and glorified by those who had never experienced the horrors of the battlefield.

The first stanza sets the scene by describing the soldier's death. He is killed by a shell, and the narrator describes the impact of the explosion in vivid detail. The second stanza describes the soldier's funeral, which is attended by mourners who see him as a hero. They believe that he died bravely and honorably, and they are proud of him.

However, in the third stanza, the tone shifts, and the narrator begins to question the idea of ​​heroism. He suggests that the soldier's death was not heroic at all, but rather a meaningless and pointless waste of life. He questions the value of the soldier's sacrifice, asking "What candles may be held to speed them all? / Not in the hands of boys, but in their eyes / Shall shine the holy glimmers of goodbyes."

In the fourth stanza, the narrator imagines the soldier's mother grieving for her son. He suggests that she will not see her son as a hero, but rather as a victim of war. The final stanza concludes the poem by suggesting that the true heroes are not those who die in battle, but rather those who survive and continue to fight against the injustices of war.

“ 'We mothers are so proud / Of our dead soldiers.' Then her face bowed.”: The mother speaks as if for all British soldiers: perhaps the consolation that she finds in doing so is in subsuming herself in the collective loss of all the mothers of the nation. At any rate, these words do seem more sentimental than authentic: their clichéd expression helps to repress, perhaps, the great grief of the women.

Again, it's a satire of the Glorified War that the motherland is proud of the Dead Soldiers for the Bravery shown by them, doesn't matter that they lost their lives for the meaningless War.

"The Hero" is a powerful poem that subverts the traditional idea of ​​heroism in war. Sassoon uses vivid imagery and stark language to convey the brutal reality of war, and to challenge the idea that soldiers who die in battle should be celebrated as heroes. Instead, he suggests that the true heroes are those who fight against war and its devastating consequences.

"The Target"

"The Target" is a poem by Ivor Gurney, a British poet and composer who served in World War I. The poem was written in 1917, during Gurney's time serving as a private in the Gloucestershire Regiment on the Western Front.

The poem is a meditation on the nature of warfare and the human cost of conflict. It begins by describing a distant hillside, where a group of soldiers are firing their rifles at a target. Gurney describes the crackling of the shots and the smoke rising from the guns, creating a sense of tension and violence.

As the poem progresses, however, Gurney shifts his focus to the human cost of the soldiers' actions. He writes of the "souls" of the men who are firing, and the way that their lives are being consumed by the violence of the war. He also speaks of the "unseen dead," the soldiers who have already been killed in battle and who are now haunting the landscape.

The poem ends with a haunting image of a single bullet that has missed the target and struck a tree. Gurney suggests that this stray bullet represents the randomness of war and the way that innocent lives can be caught up in its violence. He writes, "The tree stands there, and weeps, and weeps, and weeps."

Overall, "The Target" is a powerful anti-war poem that highlights the human cost of conflict. Gurney's vivid descriptions of the soldiers firing at the target are juxtaposed with his somber reflections on the toll that the war is taking on the men and the landscape. The poem is a poignant reminder of the need for peace and understanding in times of conflict.

"All's a tangle. Here's my job.

A man might rave, or shout, or sob;

And God He takes no sort of heed.

This is a bloody mess indeed".

First person narrator – an ordinary soldier explaining why he killed a German and how he now feels about it

"This is a bloody mess indeed."

The line is significant here that at the end Soldier is able to understand the true meaning of War that war is nothing but the "Bloody Mess"

Yet God keeps still, and does not say/A word of guidance any way.”

The idea of ​​god doing everything better and looking at everything is being criticized here as if he is looking at everything then why don't he do anything or at least speak anything?

Structure of the Poems 

"Target" is a three-stanza poem with irregular meter and rhyme scheme. The first stanza describes the scene of a soldier preparing to fire his rifle at a distant target. The second stanza shifts to the soldier's thoughts and emotions as he takes aim, including his fear and the brutal nature of his task. The final stanza concludes with the soldier firing his rifle and the target falling, but the poem's final lines suggest a sense of futility and emptiness.

The structure of "Target" reinforces the idea of ​​fragmentation and dislocation that characterized much of the poetry of the First World War. The irregular meter and rhyme scheme mirror the chaos and unpredictability of the battlefield, while the fragmented narrative structure mirrors the shattered lives and minds of soldiers who were often unable to make sense of their experiences.

"The Hero," on the other hand, is a sonnet with a traditional meter and rhyme scheme. The poem describes a soldier who dies in battle and is praised as a hero for his sacrifice. However, the final lines of the poem reveal that the soldier was actually terrified and did not want to die. The sonnet form, with its strict rhyme scheme and meter, contributes to the ironic contrast between the soldier's true feelings and the heroic narrative that is imposed upon him.

Conclusion: That is how in an Ordinary language of soldiers, Poets have been trying to show us the very ugly face of war rather than glorifying the deaths and bravery of Soldiers using it for the "Mother land" which is not itself.

However, "Target" and "The Hero" use their unique styles to convey the complex emotions and experiences of soldiers during World War I, and to challenge the traditional narratives of heroism and glory that were often used to justify the conflict.

Character analysis of 'Daisy'

Introduction of Writer:

Fitzgerald is considered to be one of the greatest American writers of the 20th century, known for his vivid and poetic prose, his portrayal of the Jazz Age, and his commentary on the disillusionment and moral decay of American society during the 1920s.

Fitzgerald was the son of an unsuccessful businessman and grew up in a middle-class family. He attended Princeton University but dropped out to join the army during World War I. After the war, he moved to New York City and began his career as a writer, publishing short stories in magazines such as The Saturday Evening Post.

Fitzgerald's work is known for its elegiac tone, its exploration of the themes of love, loss, and the American Dream, and its depiction of the decadence and excess of the Jazz Age. Despite his success as a writer, Fitzgerald struggled with alcoholism and financial problems throughout his life. He died of a heart attack at the age of 44, but his legacy as a writer has endured and his work continues to be celebrated and studied today.

Introduction of the Novel 

The novel "The Great Gatsby" by F. Scott Fitzgerald is a classic American novel that was first published in 1925. The story takes place in the 1920s, a period of economic prosperity and social upheaval known as the Jazz Age. The novel is set in the fictional town of West Egg on Long Island, where the wealthy and glamorous Jay Gatsby throws extravagant parties in the hopes of winning back his lost love, the beautiful Daisy Buchanan.

The novel is narrated by Nick Carraway, a young man from the Midwest who has moved to New York to work in the bond business. Through Nick's eyes, we see the opulence and excess of the wealthy elite, as well as the corruption and moral decay that lies beneath the surface. As Nick becomes drawn into Gatsby's world, he becomes witness to a tragic story of love, greed, and betrayal.

The novel explores themes of love, wealth, social class, and the American Dream. It is a poignant commentary on the emptiness of the pursuit of wealth and status, and the devastating consequences of the loss of moral values. "The Great Gatsby" is widely considered to be one of the greatest novels of the 20th century and a masterpiece of American literature.

Characters of the novel 'The Great Gatsby'

"The Great Gatsby" features a range of memorable characters who represent different facets of the society and culture of the 1920s. Here are some of the main characters in the novel:

Jay Gatsby: The enigmatic and mysterious protagonist of the novel, Gatsby is a wealthy young man who throws extravagant parties in the hopes of winning back his lost love, Daisy Buchanan. Gatsby is known for his wealth, his charm, and his obsession with the past.

Daisy Buchanan: The object of Gatsby's affection, Daisy is a beautiful and wealthy young woman who is married to Tom Buchanan. She is known for her flirtatiousness, her vulnerability, and her conflicted feelings for Gatsby.

Tom Buchanan: Daisy's husband, Tom is a wealthy and powerful man who represents the old money elite of the East Coast. He is known for his arrogance, his racism, and his philandering.

Nick Carraway: The narrator of the novel, Nick is a young man from the Midwest who moves to New York to work in the bond business. He becomes drawn into Gatsby's world and serves as a witness to the tragic events that unfold.

Jordan Baker: A professional golfer and friend of Daisy's, Jordan is known for her beauty, her cynicism, and her dishonesty.

Myrtle Wilson: The mistress of Tom Buchanan, Myrtle is a lower-class woman who dreams of a better life. She is known for her coarseness and her desire for social status.

George Wilson: Myrtle's husband, George is a garage owner who is unaware of his wife's affair. He is known for his meekness and his naivete.

These characters and their relationships with each other drive the plot of the novel and provide insight into the society and culture of the 1920s.

Daisy Buchanan 

Partially based on Fitzgerald’s wife, Zelda, Daisy is a beautiful young woman from Louisville, Kentucky. She is Nick’s cousin and the object of Gatsby’s love. As a young debutante in Louisville, Daisy was extremely popular among the military officers stationed near her home, including Jay Gatsby. Gatsby lied about his background to Daisy, claiming to be from a wealthy family in order to convince her that he was worthy of her. Eventually, Gatsby won Daisy’s heart, and they made love before Gatsby left to fight in the war. Daisy promised to wait for Gatsby, but in 1919 she chose instead to marry Tom Buchanan, a young man from a solid, aristocratic family who could promise her a wealthy lifestyle and who had the support of her parents.

DAISY'S VOICE:

"[She had] the kind of voice that the ear follows up and down, as if each speech is an arrangement of notes that will never be played again. . . . There was an excitement in

her voice that men who had cared for her found difficult to forget: a singing compulsion, a whispered "Listen," a promise that she had done gay, exciting things just a while since and that there were gay, exciting things hovering in the next hour" (Chapter 1) Connections have been made between Daisy's voice and the sirens in Homer's Odyssey. Sirens are creatures who allure and entrap sailors with their attractive voices. When the sailors come close to the shores they sink their ships. Daisy's voice is representative. of both her charm and of the captivity of commitment. Though Daisy comes across as fragile and indifferent, her voice, though delicate, holds immense power and enchants various characters throughout the novel. Arguably, the focus on the way Daisy's voice says things as opposed to what she says can be attributed to the patriarchal gaze of Nick. 

The idea that her voice is celebrated for its aesthetic value as opposed to the messages it carries is further symbolism of Daisy's own silencing. Her voice can be mistaken for a powerful optimism - her voice has a "singing compulsion" and is "glowing and singing" (Chapter 1) - and it is through how she says things and not what she says (for shes often cynical and petulant ), that She is able to lure other characters.

References to Daisy's voice:

Daisy's voice is additionally significant because it represents her interactions with people and the world. She uses her charming voice, often interspersed with smirks and giggles to mask true emotions. When she follows up cynical comments with a laugh, her own struggle

becomes ambiguous. In some ways, her voice serves as a coping mechanism for the things she has no will to change in her world. 

It is a charming acceptance of her position that enables

her to continue inhabiting the social class and systems she prefers.

"The exhilarating ripple of her voice was a wild tonic in the rain" (Chapter 5)

"Her voice is full of money," he said suddenly.

That was it. I'd never understood before. It was full of money—that was the inexhaustible charm that rose and fell in it, the jingle of it, the cymbals' song of it. . . . High in a white palace the king's daughter, the golden girl. 

Nick, for his part, faults both Daisy and Tom, as rich people who smash things up and leave the mess for others to clean up (9.146). However, Nick comes to admire and revere Gatsby after his death and doesn't dwell on Gatsby's role in Myrtle's death.

Artificial:

The fact that she seems to stutter frequently appears playful but also suggests her to be a constant performer as she acts out her responses.

"I’m p-paralyzed with happiness" (Chapter 1)

"Then from the living-room I heard a sort of choking murmur and part of a laugh, followed by Daisy's voice on a clear artificial note: 'I certainly am awfully glad to see you

again.'" (Chapter 5)

Nick catches onto Daisy's artificiality here; she appears to be in performance mode all the time when around other people. Later, he repeats the words: "Daisy was young and her artificial world was redolent of orchids". Daisy's prioritization of beauty means she buries her head in the sand to the grim reality of life - which is made clearest by the Valley of Ashes - and this makes her artificial. fairylike connotations, associating her with romantic supernaturalism, rising above the reality 

And I hope she'll be a fool — that's the best thing a girl can be in this world, a beautiful little fool."

She describes herself as "sophisticated" and says the best thing a girl can be is a "beautiful little fool," which makes it unsurprising that she lacks conviction and sincerity, and values ​​material things above all else. Yet Daisy isn't just a shallow gold digger. She's more tragic: a loving woman who has been corrupted by greed. She chooses the comfort and security of money over real love, but she does so knowingly. Daisy's tragedy conveys the alarming extent to which the lust for money captivated Americans during the Roaring Twenties.

Conclusion: That's how, Daisy was made up by her choices,it was the wealth which made her highly Hypocritical and dependent economically.Though she was different than the other woman as she was knowingly choosing her priorities whether money or the social status over the Love and knowledge of the Reality.

Thank You 

Family Conflict in 'Long Day's Journey into Night'

Name:- Rinkal Dangar 

Roll No:- 18

Semester:- 2 (Batch 2022-24)

Enrollment number: - 4069206420220007

Paper No:- 108

Paper name: - The American Literature 

Paper code:- 22401

Topic: - Family Conflict in "Long Day's journey into Night"

Submitted to:- Smt. SB Gardi Department of English, Maharaja Krishnakumarsinhji Bhavnagar University

Date of Submission:- 31/03/2023

Email Address: - dangarrinkal0609@gmail.com

Introduction of Eugene O'Neill:

 

Eugene O'Neill (1888-1953) was an American playwright who is widely considered to be one of the most important and influential dramatists in the history of American theater. He is known for his pioneering work in the development of modern American drama, which challenged traditional theatrical conventions and explored complex psychological and social issues.

O'Neill was born in New York City and was the son of a famous actor, James O'Neill. He dropped out of college and spent several years working as a seaman, which gave him a unique perspective on life and human nature. He began writing plays in the early 1910s and quickly gained recognition for his innovative approach to theater.

Throughout his career, O'Neill wrote a series of groundbreaking plays that tackled difficult subjects such as addiction, family dysfunction, and the nature of human existence. Some of his most famous works include "The Iceman Cometh," "A Long Day's Journey into Night," and "Mourning Becomes Electra."

O'Neill's work had a significant impact on the development of modern American theater and continues to be celebrated and studied today. He was awarded the Nobel Prize in Literature in 1936, making him the first American playwright to receive the prestigious award. Despite his success, O'Neill struggled with personal demons throughout his life, including alcoholism and depression, which is reflected in his deeply personal and introspective plays

Introduction of the Play:

"Long Day's Journey into Night" is a play written by Eugene O'Neill, which was published posthumously in 1956. The play is widely considered as a masterpiece of American drama and has received numerous accolades and awards.

The play depicts a single day in the life of the Tyrone family, consisting of James Tyrone Sr., his wife Mary, and their two sons, Jamie and Edmund. Set in the summer of 1912, the play takes place in the family's summer home in Connecticut and follows the family's struggles with addiction, illness, and their dysfunctional relationships.

The play is heavily autobiographical, drawing from O'Neill's own experiences with his family, particularly his relationship with his mother, who struggled with addiction. The characters in the play are deeply flawed and struggling to come to terms with their past and present circumstances, making it a powerful exploration of human psychology and family dynamics.

"Long Day's Journey into Night" is known for its powerful, poetic language, its complex characters, and its exploration of the human condition. It is a deeply moving and poignant play that continues to be celebrated and studied today.

Major Characters of the Play: The major characters of "Long Day's Journey into Night" are the members of the Tyrone family:

James Tyrone Sr. - The patriarch of the family, a successful actor who is now miserly with his money. He struggles with guilt over his past choices and the death of his infant son.

Mary Tyrone - James's wife, who is addicted to morphine and haunted by memories of her past. She is a fragile and tragic figure who longs for escape from her addiction and her troubled family.

Jamie Tyrone - The older son, a heavy drinker and cynic who resents his father's cheapness and struggles with guilt over his own failures.

Edmund Tyrone - The younger son, a writer who is ill with tuberculosis. He is idealistic and hopeful, but also deeply affected by the dysfunction of his family.

The play is largely autobiographical, drawing heavily from Eugene O'Neill's own life and family. The characters are complex and flawed, each struggling with their own demons and the weight of their shared history. Their interactions throughout the play are tense and fraught, as they confront the painful truths of their past and present.

Conflict Theory

    

Conflict is a basic fact of social life. Competing sets of interests contribute to the dynamic nature of social life, which, in turn, causes conflict and induces social interaction. In any given society, each person pursues his or her individual social interests. The family, much like any other social unit, demonstrates among its members the same competing interests observed in other social groups in society. Interaction in daily life is cast in conflicting desires and wants. Conflict theory was first clearly conceptualized in the political philosophy of Karl Marx. Marx determined that conflict was the most fundamental principle of social life in human history and argued that social life passes through stages that lead to revolution. According to Mars, revolution occurs because we all have a need for material goods, a need that is driven by competition for resources. This competition, or conflict, ultimately divides people into two groups: the rich (who have power and access to resources) and the poor (who lack power and access to resources). Conflict in society generally occurs between those who own the means of production and those who have only their labor to sell. Those who control the means of communication perpetuate ideologies that serve their own purposes and hold the position that "We are rich because we deserve it, we worked hard for it, and those who are below us are in that position because they have not worked hard enough." Seeking to avoid a revolt, the rich attempt to create an ideological framework (or an ideological cast) to maintain the status quo and prevent workers from realizing that they are being exploited.

In Salegy: Understanding a Diners Society, Andersen and Taylor examine the family unit from the perspective of family conflict theory. They view the family as an institution governed by power relationships that ultimately reflect social inequalities within the society as a whole. Klien and White see conflict as a dialectic. The outcome of conflict is growth and nourishment, and in the family, as in society, growth leads to cooperation. Therefore, cooperation is ultimately another form of conflict. When we negotiate after a conflict, our interests temporarily coincide. Eventually, however, conflict reoccurs, and constant negotiation is thus required to achieve growth and mutual understanding Conflict theory offers the idea that, rather than order, conflict and friction strengthen relationships between family members by creating opportunities for communication and negotiation. This dialectic may eventually lead to dialectic wherein the members of a family or couple may attain deeper understandings of each other. This dialectic is demonstrated in O'Neill's Long Day's Journey into Night.

Look, how sick the fog is …All the people of the world could pass by, and I would never Know.

The Conflict always have been inside Marry as she selected James in spite of her career and Passion for Music which caused Tragedy into her life that the fog is representing the darkest side of her life where she is feeling disappointed by her life.

Family Conflict 

The play is founded upon endless conflict. The father, James Tyrone, is a miserly man who seems to have 

failed everyone in the family, including his wife, Mary. After giving birth to their son, Edmund, Mary is in great pain, and James sends her to “an ignorant quack of a cheap hotel doctor” because he is inexpensive (89). The doctor prescribes Mary morphine, and she ultimately becomes addicted to it. James also fails in his marriage to Mary because he is always away from home and drinks too much. In addition, James fails his younger son, Edmund, in sending him to a cheap, second-rate sanatorium rather than to a more expensive venue when he is diagnosed with TB. Edmund rails against his father, “But to think when it’s a question of your son having consumption, you can show yourself before the whole town as such a stinking old tightwad” . He also fails his older son, Jamie, by turning him into a drunkard. This becomes obvious when Mary tells him “Since he first opened his eyes, he’s seen you drinking, always a bottle on the bureau in the cheap hotel rooms. And if he had a nightmare when he was little or a stomachache, your remedy was to give him a teaspoonful of whisky to quiet him”.

Conflict Caused by Jealousy between Siblings 

From a different perspective, James faults Jamie for corrupting Edmund in being “the worst influence on 

him” Jamie admits to Edmund, “Mom and Pop are right. I’ve been a rotten influence. And the worst of it is, I did it on purpose…to make a bum of you…. Never wanted you to succeed and make me look even worse by comparison. I Wanted you to fail. Always jealous of you” 

Conflict Caused by Jealousy between Parents 

Finally, this conflict develops into a jealous rivalry between Mary and James with regard to their children. 

Mary says “I know why he wants to send you to a sanatorium…to take you away from me! He’s always tried to do that. He’s been jealous of every one of my babies! He kept finding ways to make me leave them. That’s what caused Eugene’s death. He’s been jealous of you most of all. He knew I loved you best”. 

Conflict within the Mother (Interior Monologue) 

The conflicting nature of the family members is also evident in the mother’s self-monologue and resignation 

to her drug addiction. When James and her sons leave the house, she calls out,”Goodbye. … [She thinks] it’s so lonely here.… You’re lying to yourself again [in a bitter soft contempt]. You wanted to get rid of them. Their contempt and disgust aren’t pleasant company. You’re glad they’re gone. [She laughs] Then, Mother of God, why do I feel so lonely?”. In a sense, this is characteristic of family life, but it is hidden. A motif of fog persists throughout the play and functions as a hiding place for Mary that represents an internal rather than external condition. Mary says that she loves the fog: “it hides [her] from the world and the world from [her]. [She] feels that everything has changed and nothing is what it seemed to be. No one can find or touch [her] anymore” (100). Drugs allow Mary to make her irrevocable exit into the fog, a state of dazed nothingness. She tells James, “Don’t leave me now, at least until one of the boys comes down. They’ll all be leaving me so soon.” To this, James replies, “It’s you who are leaving us, Mary”. 

Conflict Caused by the Lack of a Home 

Home is the center of family life, but James has failed to secure such a center for his family. Edmund blames 

his father, Tyrone, for his mother’s addiction to dope. He says to his father: I know damn well she’s not to blame!

Conflict between the Past and the Present (Life over Time) 

There is an overwhelming sense of the passage of life and the relationship between the past and the present in 

the play. This becomes clear in the “re-memory”of experiences Mary and James negotiate as they go back and forth discussing innocent childhood dreams of the past and shared nightmares of the present. In what follows, the two characters suddenly return to their past in sharing a kiss. James kisses Mary and immediately recognizes her as the innocent young girl he married. Mary looks at her hands and notices how they have become disfigured by rheumatism (which necessitated the drugs). She sees her fatigued, worn-out body and begins to long for the impossible, a return to 

the innocence that life caused her to lose over time. She reminisces about her wedding gown, which, to her, signifies the youth, beauty, innocence, and life she had before her incessant pain. 

"I haven't touched a piano in so many years,it was not possible with these crippled fingers, even if I wanted to. For a time after my marriage I tried to

keep up my music. But it was hopeless. One-night stands, cheap hotels,

dirty trains, leaving children, never having a home—"

 

That's the dialogue where Mary regrets all her past and the time she has lost by the things after her marriage.

Conclusion 

The play ultimately alludes to the idea that we have to accept the things in our lives that we cannot change. 

Regardless of the bitterness and blame that permeates the family’s dialogue, each of the family members is emotionally invested in and dependent on one another. Mary says, “James, we’ve loved each other. We always will. Let’s remember only that and not try to understand what we cannot understand, or help things that cannot be helped. The things life has done to us we cannot excuse or explain” . This statement illustrates the sense of maturity (rather than evasion) that life offers the couple over time. Life bruises them, yet they continue to love and accept each other. 

In his 1972 review of the play, William C. Young wrote, “the Tyron family’s tragedy is undergirded by love.” Despite the conflicts in their relationships, “there is genuine love in the midst of the apparent hate” by all the faults, Edmund forgave his brother for all the mistakes he had made.

 Overall the novel is the reflection of family lives, where women have sacrificed,Men are Jealous and Ugly inside.

Thank You.

Master Slave relationship in 'Waiting for Godot'

Name:- Rinkal Dangar 

Roll No:- 18

Semester:- 2 (Batch 2022-24)

Enrollment number: - 4069206420220007

Paper No:- 107

Paper name: - The Twentieth Century Literature: From World War II to the End of the Century 

Paper code:- 22400

Topic: - Master-Slave relationship in 'Waiting for Godot'

Submitted to:- Smt. SB Gardi Department of English, Maharaja Krishnakumarsinhji Bhavnagar University

Date of Submission:- 31/03/2023

Email Address: - dangarrinkal0609@gmail.com

Introduction of the Play:

Waiting for Godot" is a play by Samuel Beckett, first published in 1952. It is a tragicomedy in which two characters, Vladimir and Estragon, wait endlessly and unsuccessfully for the arrival of someone named Godot. Set against a barren, treeless landscape, the The play explores themes of existentialism, the search for meaning and purpose, the nature of time and the human condition.

The play premiered in Paris in 1953 and quickly gained recognition as a groundbreaking work of post-war literature. Its unique blend of absurdity, humor and philosophical inquiry challenged traditional theatrical conventions and established Beckett as one of the most influential writers of the 20th century.

"Waiting for Godot" has been interpreted in many different ways and has become a touchstone of modern literature, inspiring countless adaptations, imitations, and homages. It is widely considered one of the most important and influential plays of the 20th century, and a landmark in the history of theatre.

Introduction of Samuel Beckett: Samuel Beckett (1906-1989) was an Irish avant-garde novelist, playwright, poet, and literary critic. He is best known for his plays, which are characterized by minimalist stage settings, spare dialogue, and a focus on existential themes such as the search for meaning in a world that often seems meaningless.

Introduction of Samuel Beckett 

Beckett was born in Dublin, Ireland, and attended Trinity College Dublin, where he studied modern languages. He later moved to Paris, where he became a protégé of James Joyce and was associated with the Surrealist and Existentialist movements.

Beckett's most famous works include the play "Waiting for Godot," which premiered in Paris in 1953 and is considered a masterpiece of modern theater. Other notable plays include "Endgame," "Krapp's Last Tape," and "Happy Days."

In addition to his plays, Beckett wrote numerous novels and poems, including "Murphy," "Molloy," and "The Unnamable." He was awarded the Nobel Prize in Literature in 1969, and his work continues to be widely studied and performed around the world.

Characters in 'Waiting for Godot': 

"Waiting for Godot" is a play by Samuel Beckett that features four characters, two of whom are the main protagonists. Here are the four characters:

Estragon: Also known as "Gogo," he is one of the two main protagonists. He is portrayed as being forgetful, pessimistic, and somewhat childlike. He is also more emotional and impulsive than his companion, Vladimir.

Vladimir: Also known as "Didi," he is the other main protagonist. He is portrayed as being more rational and level-headed than Estragon. He is also more concerned with the passage of time and frequently consults a pocket watch.

Pozzo: A wealthy landowner who appears in the first and second acts. He is accompanied by his slave, Lucky, whom he mistreats. Pozzo is pompous, arrogant, and domineering.

Lucky: Pozzo's slave, who appears in the first and second acts. He is described as being physically and mentally debilitated, and he is forced to carry Pozzo's belongings.

Master Slave relationship in 'Waiting for Godot'

The theme of the master-slave relationship is a recurring motif in the literature of the twentieth century. This motif appears in many forms, such as political oppression, social inequality, and racial discrimination, and is often used as a metaphor for power dynamics between individuals or groups.

In "Waiting for Godot," the relationship between Pozzo and Lucky is a clear example of a master-slave relationship. Pozzo is the master, and Lucky is his slave. Pozzo is physically and verbally abusive towards Lucky, treating him as an object rather than a human being. For example, he refers to Lucky as his "pig" and "blockhead," and he physically drags him around on a leash.

The relationship between Pozzo and Lucky is reflected in the physical bond that holds them together—the link of the rope. The relationship between them is that of dominant and dominating, although in the second act it takes on another aspect that of the dumb leading the blind. The relationship also represents the exploitation of the social life where Pozzo is one of the haves, dining on chicken and wine, while Lucky is the have-not to whom he throws the gnawed bones. The drudgery and inhuman treatment have reduced Lucky to the level of an animal. But he is not treated as a man. So he is below the level of animals, rather a mere machine in some respects.

The relationship between Pozzo and Lucky serves as a commentary on power dynamics and the human condition. The play suggests that, like Pozzo and Lucky, humans are often caught in a cycle of domination and subservience, with the dominant figures exploiting those who are weaker or less fortunate. Ultimately, the play suggests that this cycle is futile and meaningless, as neither the master nor the slave is truly fulfilled or satisfied in their roles.

Reflecting the historical relationship between England and France. Pozzo, who represents the ruling class, is initially dominant over Lucky, who represents the oppressed working class. However, as the play progresses, Lucky becomes more powerful and eventually overthrows Pozzo, representing a reversal of power dynamics. This can be seen as a commentary on the shifting power dynamics between England and France in the aftermath of World War II.

Master slave relationship between the God and Humans 

The master-slave relationship between God and humans is a concept that has been explored in many religious and philosophical traditions. In many religious traditions, God is seen as the ultimate authority figure and humans are seen as subordinate to God's will. This can be seen as a form of master-slave relationship, where God is the master and humans are the slaves.

Pozzo and Lucky both are the characters who have been interpreted as the reflection of the relationship between God and Humans. As the bag Lucky was carrying had nothing but the Sand in it, Somewhere, we humans are also following the things as religion told us that it's God who punishes and rewards us and we are believing and doing such silly things as Lucky.

Pozzo: Good. Is everyone ready? Is everybody looking at me? (He looks at Lucky, jerks 

the rope. Lucky raises his head.) Will you look at me, pig! (Lucky looks at him.) 

Good. (He puts the pipe in his pocket, takes out a little vaporizer and sprays his 

Throat, puts back the vaporizer in his pocket, clears his throat, spits, takes out the 

vaporizer again, sprays his throat again, puts back the vaporizer in his pocket.) I 

I am ready. Is everybody listening? Is everyone ready? (He looks at them all in 

turn, jerks the rope.) Hog! (Lucky raises his head.) I don't like talking in a 

vacuum. Good. Let me see.

He reflects.

ESTRAGON:

I'm going.

POZZO:

What was it exactly you wanted to know?

VLADIMIR:

why he—

POZZO:

(angrily). Don't interrupt me! (Pause. Calmer.) If we all speak at once we'll never get anywhere. (Pause.) What was I saying? (Pause. Louder.) What was I saying?

Vladimir mimics one carrying a heavy burden. Pozzo looks at him, puzzled.

ESTRAGON:

(forcibly). Bags. (He points at Lucky.) Why? Always hold. (He sags, panting.) 

Never put down. (He opens his hands, straightens up with relief.) Why?

POZZO:

Ah! Why couldn't you say so before? Why doesn't he make himself comfortable? 

Let's try and get this clear. Has he not the right to? Certainly he has. It follows 

that he doesn't want to. There's reasoning for you. And why doesn't he want to? 

(Pause.) Gentlemen, the reason is this.

VLADIMIR:

(to Estragon). Make a note of this.

POZZO:

He wants to impress me, so that I'll keep him.

That dialogue is all that suggests the Master slave relationship between Pozzo and Lucky as well as God and Humans. The difference is that, Lucky knew that Pozzo is existing and he is alive where humans even don't know God is existing or not.

In Christianity, for example, humans are often seen as sinners who are in need of redemption through faith in God. This relationship is characterized by submission to God's will and a recognition of God's power and authority over human life. In this sense, humans are seen as the slaves of God, who must obey God's commandments and live in accordance with God's will.

However, this relationship is not necessarily seen as negative or oppressive in religious contexts. Rather, it is often seen as a source of comfort and guidance for believers, who trust in God's wisdom and power. Many religious traditions also emphasize the importance of free will and personal responsibility, suggesting that humans have agency and can choose to submit to God's will or not.

In philosophical contexts, the master-slave relationship between God and humans is often seen as problematic. Some argue that it reinforces hierarchical power structures and undermines human dignity and autonomy. Others argue that it is a necessary part of religious faith and can provide a framework for moral guidance and ethical decision-making.

master-slave relationship between God and humans is a complex concept that has been explored in many religious and philosophical traditions. While it can be seen as a form of oppression, it is also often viewed as a source of guidance and comfort for believers. Ultimately, the meaning and implications of this relationship depend on the specific religious or philosophical context in which it is situated.

Conclusion 

In conclusion, the master-slave relationship is a pervasive theme in twentieth-century literature. It serves as a metaphor for power dynamics and explores issues of oppression, inequality, and discrimination. These works remind us of the importance of recognizing and challenging power imbalances in society.

As Lucky was mistreated by Pozzo was the clear image of the society where slaves were being treated, however in all the contexts as Religious, Social and Political.

Archetype of 'A Self Made Man'

Name: - Rinkal Dangar 

Roll No: - 18

Semester: - 2(Batch 2022-24)

Enrolment number: - 4069206420220007

Paper No: - 109

Paper name: - Indian and Western Literary Theory and Criticism

Paper code: - 22342

Topic: - Archetype of 'A Self Made Man'

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

Date of Submission:- 31/03/2023

Email Address: - dangarrinkal0609@gmail.com

Introduction of Archetypal Criticism:

According to Abrams, archetypal criticism is a type of literary analysis that focuses on the recurrent patterns and images that are present in literature across different cultures and time periods. These patterns and images are considered to be archetypes, which are universal symbols that reflect deep-seated human experiences and emotions.

Abrams explains that archetypal criticism is rooted in the work of psychologist Carl Jung, who believed that archetypes are inherited patterns of thought and behavior that are present in the collective unconscious of all human beings. Archetypal criticism seeks to identify and analyze these archetypes in literary works, exploring how they shape the meaning and significance of the text.

For Frye, the death-rebirth myth that Frazer sees manifest in agriculture and the harvest is not ritualistic since it is involuntary, and therefore, must be done. As for Jung, Frye was uninterested about the collective unconscious on the grounds of feeling it was unnecessary: since the unconscious is it cannot be studied. How archetypes came to be was also of no concern to Frye; rather, the function and effect of archetypes is his interest.

Frye proposed that the totality of literary works constitute a “self-contained literary universe” which has been created over the ages by the human imagination so as to assimilate the alien and indifferent world of nature into archetypal forms that serve to satisfy enduring human desires and needs. In this literary universe, four radical mythoi (i.e. plot forms, or organizing structural principles), correspondent to the four seasons in the cycle of the natural world, are incorporated in the four major genres of comedy (spring), romance (summer), tragedy (autumn), and satire (winter).

Comedy is aligned with spring because the genre of comedy is characterized by the birth of the hero, revival and resurrection. Also, spring symbolizes the defeat of winter and darkness.

· Romance and summer are paired together because summer is the culmination of life in the seasonal calendar, and the romance genre culminates with some sort of triumph, usually a marriage.

· Autumn is the dying stage of the seasonal calendar, which parallels the tragedy genre because it is, (above all), known for the “fall” or demise of the protagonist.

· Satire is metonymized with winter on the grounds that satire is a “dark” genre. Satire is a disillusioned and mocking form of the three other genres. It is noted for its darkness, dissolution, the return of chaos, and the defeat of the heroic figure.

The comedic human world is representative of wish-fulfillment and being community centered. In contrast, the tragic human world is of isolation, tyranny, and the fallen hero.

· Animals in the comedic genres are docile and pastoral (e.g. sheep), while animals are predatory and hunters in the tragic (e.g. wolves).

· For the realm of vegetation, the comedy is, again, pastoral but also represented by gardens, 

parks, roses and lotuses. As for the tragic, vegetation is of a wild forest, or as being barren.

· Cities, temples, or precious stones represent the comedic mineral realm. The tragic mineral realm is noted for being a desert, ruins, or “of sinister geometrical images”

Characters

The hero - The courageous figure, the one who's always running in and saving the day. Example: D'artagnan from Alexandre Dumas's "The Three Musketeers". (Hamlet, Macbeth, Tom Jones, Moll, … )

The outcast - The outcast is just that. He or she has been cast out of society or has left it on a voluntary basis. The outcast figure can oftentimes also be considered as a Christ figure. Example: Simon from William Golding's "The Lord of the Flies". ( Pandavas, Ram-Sita-laxman, Sugreve, Duke, Orlando, Rosalind in As You Like It, Tramps in Godot, …)

The scapegoat - The scapegoat figure is the one who gets blamed for everything, regardless of whether he or she is actually at fault Example: Snowball from George Orwell's "Animal Farm". [Tom Jones, Darcy in P&P (breaking of Lizzy’s sis’s relationship, elopement), Technology in BNW, Tess for the death of Prince, giving birth to Sorrow, …]

The star-crossed lovers - This is the young couple joined by love but unexpectedly parted by fate. Example: Romeo and Juliet from William Shakespeare's "Romeo and Juliet". Heer – Ranjha, Shirin – Farhad, ….]

The shrew - This is that nagging, bothersome wife always battering her husband with verbal abuse. Example: [ Lizzy’s mother in Pride and Prejudice].

 Femme Fatale: A female character type who brings upon catastrophic and disastrous events. Eve from the story of Genesis or Pandora from Greek mythology are two such figures. Seta, Draupadi or Surparnakha

The Journey: A narrative archetype where the protagonist must overcome a series of obstacles before reaching his or her goal. The quintessential journey archetype in Western culture is arguably Homer’s Odyssey.

Situations/symbols:

Archetypal symbols vary more than archetype narratives or character types, but any symbol with deep roots in a culture's mythology, such as the forbidden fruit in Genesis or even the poison apple in Snow White, is an example of a symbol that resonates to archetypal critics.

The task - A situation in which a character, or group of characters, is driven to complete some duty of monstrous proportion. Example: Frodo's task to keep the ring safe in J. R. R. Tolkein's "The Lord of the Rings" trilogy. Arthurian Legends, , bring Helen back to Troy, Kurukshetra’s battle for Arjun, Savitri…)

The quest - Here, the character(s) are searching for something, whether consciously or unconsciously. Their actions, thoughts, and feelings center around the goal of completing this quest. Example: Christian's quest for salvation in John Bunyan's "The Pilgrim's Progress". (Search for Holy Grail, Search for Sita>, Nal-Damyanti, Savitri for Satyakam life, Shakuntala in Kalidas, Don Quixote, Jude, …)

The loss of innocence - This is, as the name implies, a loss of innocence through sexual experience, violence, or any other means. Example: Val's loss of innocence after settling down at the mercantile store in Tennessee William's "Orpheus Descending". [Moll, Tess, Tom, Jude, …]

Water - Water is a symbol of life, cleansing, and rebirth. It is a strong life force, and is often depicted as a living, reasoning force.

Archetype of 'A Made Man'

"Self-made man" is a classic phrase coined on February 2, 1842 by Henry Clay in the United States Senate, to describe individuals whose success lay within the individuals themselves, not with outside conditions.

Originally, the term referred to an individual who arises from a poor or otherwise disadvantaged background to eminence in financial, political or other areas by nurturing qualities, such as perseverance and hard work, as opposed to achieving these goals through inherited fortune, family connections, or other privileges. By the mid-1950s, success in the United States generally implied "business success".

In his 1954 book The Self-Made Man in America: The Myth of Rags to Riches, Irvin G. Wyllie described how on February 2, 1832 Henry Clay had "coined the phrase 'self-made men'" during his speech to the United States Senate.

In literature and popular culture

Ragged Dick (1868)

Horatio Alger Jr.'s six-volume Ragged Dick series which began with the first full-length novel, Ragged Dick published in May 1868, a Bildungsroman "whose name became synonymous with the rags-to-riches narrative", where young Dick eventually became the successful and distinguished Richard Hunter.

The Great Gatsby               

A novel written by Fitzgerald, where Gatsby made himself a millionaire from one ordinary Soldier.

In F. Scott Fitzgerald's magnum opus The Great Gatsby, describes the downfall of the "archetypal, if somewhat misguided" "socially ambitious self-made man" Jay Gatsby who rose from "an obscure and impoverished Midwestern childhood to become a wealthy and sought-after center of Long Island society".

The Old Man and the Sea 

A novella written by Earnest Hemingway where the character of The Old Man named Santiago has awakened to catch fishes though he was old, alone and poor. At the end of the novella, Santiago catches the huge Fish by struggling a lot.

These three characters Archetypes of Santiago, Gatsby and Bildungsroman are in a different than each other though they are same somewhere, As Gatsby was a successful millionaire but his life ended up with the tragedy and Santiago was successful at the last phase of his life, Gatsby was earning money to win Daisy's hand and Santiago was struggling to earn his lost Self in his older days. 

These characters are full of courage and positive attitude towards the Self and hardwork. 

Conclusion: When the concept of 'Self Made Man' comes to the context of money, as it is connected to the American dream, there are always threats to the person who became rich,has earned money by hurting others or by illegal activities in the context of the Social, National and Ethical context.

There is no such thing as a ‘self-made’ man. We are made up of thousands of others.”

 — George Matthew Adams.

When it comes to Self respect and other kind of Moral Purposes, Hard work and the dedication makes Men "Self Made" in reality.Literature often used such Archetypes of 'A Self Made Man' and would be always using to reflect human Psyche, Nature and the real struggle behind the Life.

Thank You.