Philip Larkin as a movement poet

 The Disillusioned Observer: Philip Larkin and the Movement

Philip Larkin stands as a prominent figure within the Movement, a post-war British literary group known for its focus on realism, everyday life, and a sense of disillusionment. While the Movement poets weren't a unified school, they shared a common ground in their rejection of Romanticism and their embrace of a more muted, ironic tone. Larkin's poems, particularly "Church Going" and "Whitsun Weddings," exemplify these core tenets of the Movement.

"Church Going" explores a central theme of the Movement – the decline of religious faith. The speaker, a self-described "unchurched" visitor, wanders through a deserted church. The poem is filled with vivid descriptions, like the "whiteness" and "roll" of the pews, that highlight the church's emptiness. The language is direct and unadorned, reflecting the speaker's detached, almost clinical, observation. Lines like "hatless" and "a feast-day smell" paint a picture of a space frozen in time, untouched by genuine belief. The poem ends with the speaker contemplating the future of the church as a "barn" or a "mausoleum," a stark contrast to its former purpose as a place of worship. This lack of faith, and the recognition of its pervasiveness, is a hallmark of the Movement's disillusioned outlook.

Similarly, "Whitsun Weddings" captures the Movement's focus on the quotidian. The poem chronicles a train journey filled with observations of newlywed couples. The speaker, however, avoids sentimentality. He describes the women as "bridey" and the men as "shaming" in their ill-fitting suits. The language, while clear, injects a subtle irony. Phrases like "crowded out" and "too late" hint at the potential ennui that awaits these couples. The poem concludes with the image of a lone figure, "standing blank and lost," a poignant reminder of human isolation even amidst a seemingly joyous occasion. This focus on the mundane and the recognition of its limitations is another key characteristic of the Movement.

Beyond thematic concerns, Larkin's technical choices further reinforce his association with the Movement. Both poems utilize free verse, allowing for a natural flow of language that mirrors the speaker's observations. The use of enjambment, where sentences run over line breaks, creates a sense of forward momentum, propelling the reader through the poem's observations. Additionally, the poems rely heavily on imagery, particularly in "Church Going," with details like the "brass shines" and "sun-lit dust"  providing a tangible counterpoint to the speaker's internal reflections. However, unlike some Romantics who used imagery to evoke grand emotions, Larkin's images are precise and unsentimental, mirroring the restrained tone of the Movement.

In conclusion, Philip Larkin's poems, particularly "Church Going" and "Whitsun Weddings," serve as prime examples of the Movement's core concerns. His exploration of religious decline, his focus on the mundane, and his use of direct, unsentimental language all contribute to a sense of disillusionment that is characteristic of the Movement. Through his keen observation and understated irony, Larkin captures the anxieties and limitations of modern life, making him a key voice within this important post-war literary movement.

"Church Going" as an example of movement poetry

 Movement Poetry and "Church Going"

The Movement was a mid-20th century British literary movement known for its focus on realism, everyday life, and a rejection of grand pronouncements or abstractions. Here's how "Church Going" by Philip Larkin embodies these elements:

Elements of Movement Poetry:

Realism: Movement poets depicted the world around them in a clear, unvarnished way. "Church Going" reflects this in its description of the church itself: "An air-conditioned gym / Stiff as a corpse at rigor mortis."

Focus on the Ordinary: The Movement celebrated the significance of the mundane. Larkin explores a seemingly ordinary act - visiting a church - yet imbues it with deeper meaning.

Emotional Restraint: Movement poets often avoided overt sentimentality. The speaker in "Church Going" acknowledges a sense of loss regarding religion but expresses it with a detached curiosity: "What will they do with that great emptiness?"

Formal Control: Despite tackling everyday themes, Movement poets employed traditional forms. "Church Going" uses a regular rhyme scheme and meter (ABAB CDCD), giving the poem structure amidst its exploration of doubt.

Social Commentary: Movement poets often subtly critiqued society. "Church Going" reflects the decline of religious faith in modern Britain, hinting at a loss of shared values.

How "Church Going" exemplifies Movement Poetry:

The poem takes a simple act - visiting a church - and uses it to explore complex themes like faith, tradition, and the meaning of life.

The speaker's internal conflict between doubt and a yearning for the past reflects the anxieties of a society in transition.

The language is clear, concise, and avoids grand metaphors, focusing on concrete details like the "frayed brass faceless plaque" and "rat-gnawed holy book."

The poem's ending, with its image of "a serious house on serious earth," is both ironic (given the dwindling faith) and strangely comforting, suggesting a continued human need for meaning.

In Conclusion:

"Church Going" is a powerful example of Movement Poetry. It uses a relatable situation and a clear, controlled style to explore the complexities of faith and doubt in a changing world.  The poem's exploration of a universal human experience - the search for meaning -  elevates it beyond a mere social commentary.

Whitsun's wedding by Philip Larkin analysis

 It's a well-known work that explores themes of conformity, fleeting happiness, and a sense of underlying emptiness, all very much in line with the post-war melancholic outlook.

Let's delve into the symbols and images that reflect this melancholy:

The Train Journey: The slow, monotonous journey itself reflects a sense of going nowhere and the passage of uneventful time.

The Whitsun Weddings: These numerous weddings become almost comical in their uniformity, suggesting a societal pressure to conform rather than genuine love.

The Landscape: The "dismantled cars" and "new and nondescript" towns depict a sense of post-war destruction and a lack of vibrancy.

The Bridegrooms: Described as "potent beasts" with "blank faces," they represent a primal, almost animalistic drive rather than romantic love.

The Religious Symbolism: The white dresses are compared to "religious wounding," suggesting a loss of innocence and the artificiality of the ceremony.

Does the poem transform to a positive outlook?

Larkin is known for his unsentimental view. "The Whitsun Weddings" doesn't offer a clear shift to positivity. However, there are glimpses of a yearning for something more:

The River: The "drifting breadth" of the river suggests a desire for escape or a simpler life.

The Description of the Brides: While critical of the weddings, Larkin acknowledges the beauty of the brides, hinting at a potential for genuine love that is perhaps lost in the conformity.

The poem ends with the image of a family,  "husband reading, wife sewing," which some might interpret as a form of quiet contentment. But even here, the lack of detail leaves it open to interpretation.

Overall, "The Whitsun Weddings" reflects the post-war melancholic outlook through its imagery and symbolism. While there might be glimpses of a different reality, the poem remains a poignant reminder of the disillusionment and sense of loss following a major world conflict.

Mai: silently mother - critical analysis

 

Geetanjali shree's novel 'Mai' is a powerful reflection of the lives of women in India, particularly in context of traditional middle-class families in northern India.

 It is a feminist novel that represents the mothers and daughters universally. The novel is narrated by Mai's daughter Sunaina, who fears she will have to follow her mother's footsteps as since her childhood she has seen her mother attending the family silently. As she says "I cannot become another Mai. Mai herself is a vanishing species".

The novel delves into themes of patriarchy, multifaceted role of motherhood, family dynamics and struggle of women. As title suggests it is a novel that portrays complexities of lives of women being a mother. Mai as a protagonist of the novel embodies the elements of submissiveness, oppressed, powerless, muted and ignored. She was bent, weak, always working and behind the parda. She does not have her own vision and ability to take decisions. She is represented as a puppet in the hands of patriarchy. Her life was controlled by the elders in her house.

 Geetanjali Shree has used characters of 'dada' and 'babu' to represent the male dominance exerted upon the females of the family. Dada was a dominating, controlling and hot- tempered figure with misogynistic tendencies. His relationship with the rest of house was of intimidation. He disliked women and did not want them to be seen in certain parts of the house. It reflects the patriarchal mindset that restricted women's movement in their own house. He even beat Dadi. Dada's character contributes to the overall theme of patriarchy and challenges faced by women in the narrative, focusing on the oppressive environment within the family dynamics.

 On the other hand,Babu or Mai's husband is 

  also portrayed as a  dominating figure. 

  He along with his family plays a significant role in subjugating Mai,  leading to her almost silent and submissiveness existence within the family structure.

     

 As said by Sunaina "she never spoke loudly to him, hardly  looked straight at him, but there was a special  attitude only for him". 

     

If she had to tell us ttogive something to babu there was a same tone- sighing, suffering and full of martyrdom".

  

 Mai was always  afraidof Babu and 

 she never dared to speak in front of him. 

  At certain times she 

  stood for her children 

  but never raised voice 

  of herself. 

  

In patriarchal 

  society a mother is always

 meant to be giving, nurturing, sacrificing and working for everyone despite her own aspirations. The novel represents how the public spaces or 'outside' is a world to be conquered by men whereas private spaces or 'households' are meant for women. Mai is always confined to the household and domestic sphere and lacks the access to public spaces. Geetanjali Shree has also portrayed the gender stereotypes associated with women. Although, gender stereotypes serve to uphold patriarchy and place boundaries upon women's lives. For instance, some of them reflected in the novel are - to be behind parda, singing and dancing was a kind of sin for women as said by Dada "the women who sang or wore bells on their feet were considered as bad women", specific clothing styles are assigned to women and so on. As Father told girls in schools "Dear girls, the lord has made you perfect like apples, round, red, sweet. But, remember, to keep this in you must not let anyone touch".

Hiding oneself behind the 'parda' is considered as a virtue of women. Dadi would teach Sunaina that the real purda is being humble, sweet, who never raise one's eyes or voice but Sunaina always protested against this prejudice. The parda that was the seal of Mai's modesty and forbearance was in real the symbol of oppression, submission etc. Mai was uneducated, voiceless and a round pot without a shape. Despite being a women Dadi had always had an upper hand on Mai. She never supported her and she used to give some bad comments. She did all the sacrifices for her family even then she was not recognized for doing so. She was a silent listener. Mai was simple, innocent and weak whereas Dadi acted as a dictator. She was always ungrateful towards Mai's sacrifices and her selfless service for the entire family.

Mai and Sunaina juxtaposed each other. Mai heard everyone impassively whereas Sunaina was not a 'weakling'. She was not a silent listener. She was educated, enjoyed freedom, and fulfilled her dreams and aspirations. She somehow managed to become a free bird whose wings are not clipped and was free to fly high. Even she was restricted from certain things but with the support given by Mai and Subodh she was free from the shackles of this prison. She rejected patriarchal conformity. She wants free herself as well as Mai from the house which was not less than a 'prison'. Although Sunaina and Subodh dream of freeing their mother from oppression, they persist in projecting their own desires onto her.

What are the issues mentioned in Ramayana?

 Major issues mentioned in Ramayana

The Ramayana is a Sanskrit epic from Ancient India. It is a very important epic of Hinduism. The epic, traditionally ascribed to the Maharishi Valmiki who narrates the life of Rama,prince of Ayodhya.

Valmiki had successfully represented social issues of that time in poetic form in the great epic, Ramayana. Inequality, discrimination, class hierarchy, women status and other rules or regulations of the society are some of the major issues highlighted in Ramayana.

During the time of the Ramayana, India's society was largely patriarchal and women were expected to be perfect wives that were submissive to their fathers, husbands or sons. Sita, a princess, made the decision to leave the palace with her husband but in later events of epic she is being bannned in kingdom by Rama. Also, she had supposed to prove herself to be pure on various times.

Not only Sita, other female characters of Ramayana have to deal with issues created by patriarchal society. For instance, Kakeyi wants to rule the country but she has no access to that and she is supposed to rule through her son.

Sita is the only one who initiated a new approach to righteousness, dignity and unimpeachable noncooperation with patriarchal demands both from Rama and from society of that time by rejecting the proposal of coming back to the kingdom and denied to prove herself pure again and again. She decided to emerge to land by herself rather than living in patriarchal society.

Although Ramayana is primarily a religious text, it also contains many political themes and ideas that continues to be relevant still. There are many political issues related to throne.

 One of the central idea is the idea of dharma and duty Rama follows the path of righteousness and justice and Ravana was opposite to him. Ultimately, Rama's committment to dharma enables him to defeat Ravana.

 

Ramayana also highlights the importance of good governance by portraying the relationship between ruler and the ruled. Rama is portrayed as a benevolent king who cares for his subjects and is willing to make personal sacrifices for their well being.

Consequently, Ramayana teaches lesson of good governance that is essential for the well being of society. According to this, leaders must always act in accordance with moral principles and the rule of law.

Public speaking skills

 

How to become good in Public speaking?

               Since the commencement of human development, individuals have been communicating their certainty and strength, forcibly, yet in addition by the respectable craft of public talking. 

The speakers of old Greece were profoundly regarded and esteemed locally. Moreover, the present world pioneers are respected and regarded when they have the ability to address people in general with balance and conviction.

Such high regard for public speaking makes the average person cringe at the idea of talking in front of an audience, no matter how big or small the size.

Whether giving a toast at a wedding or delivering a speech to a large assembly, most people make a big deal about public speaking and try to avoid it as much as possible.

But public speaking should not cause such a big fuss. Challenging as it may be, public speaking can be done with a few simple guidelines.

Before Making The Speech: Preparation 

Like some other undertaking, public talking requires cautious planning to be fruitful. Many individuals would fantasy about having those "propelled" unconstrained discourses found in motion pictures; be that as it may, such scenes infrequently occur, in actuality. 

To have no less than a fair discourse, one should design well. Indeed, even the world's most renowned pioneers get ready for public locations and generally even have groups to chip away at those plans. 

All things considered, regardless of whether one doesn't have a discourse arrangement board, one can plan for public talking. Initially, one should know for what the event the discourse is for.

 

The Gettysburg address would not be proper for a wedding; hence, discourse needs to fit the occasion to which it will be conveyed. 

Second, one ought to look at the crowd who will observe the discourse. A get-together of scholastics would not seriously approach an enthusiastic speaker; one ought to pick a reasonable public talking style dependent on the crowd. 

Third, one ought to contemplate what is by and large generally anticipated in the discourse. A rancher's affiliation would normally not be intrigued on a discourse about the complexities of beadwork; one ought to painstakingly contemplate the topic to be handled out in the open talking. 

 

Making The Speech: Writing

Again, dazzling spontaneous speeches rarely happen in real life. Most good speeches have been written before their delivery.

While most noted public figures have speech-writing committees, one can make a good speech even without the help of a team of ghostwriters.

When writing for public speaking, one should carefully organize the contents of the speech. It usually pays well to begin with a solid introduction.

It is important to catch the audience’s attention early to prevent them from being bored easily. Next, the body should be purposeful.

The contents of the speech should relate well and support each other. It is not good to digress too much, though, at times, some deviations help attract attention when boredom arises.

Lastly, one should make a conclusion that sticks to the mind. No matter how stirring a speech is, it is useless if the people forget it the instant they leave the gathering. Conclusions should give a concise but memorable recap of the body.

 

The Actual Public Speaking: Delivery 

A composed discourse would not be fulfilled without the genuine public talking itself. This is the part many people fear, yet when legitimate arranging and composing is progressed admirably, the conveyance ought to follow without any problem. 

One should conclude whether to talk from memory or to utilize notes. Amateurs should profit with content or an aide; when one becomes more open to talking out in the open, one can begin depending on memory. 

Perusing content straightforwardly can be exhausting for the crowd; accordingly, keep consistent contact with them. Talking from memory is amazing, yet it may be hard to try not to miss a few pieces of the discourse.

Talking with notes can be a decent trade-off since one can elucidate the focuses well. The decision of how to convey the discourse relies altogether upon the speaker; accordingly, one should gauge the choices cautiously. 

 

Learning More About Public Speaking

Several resources could help one do well in public speaking. Several books and articles about the topic have been published, and they can well be accessed through the library or the bookstore.

Many companies offer public speaking training, and such services provide in-depth courses that could help one speak well in public. There are also several articles and courses available through the Internet; some are even posted for free.

Imagery in poetry of Ted Hughes

 Ted Hughes' use of animal imagery is widely considered a hallmark of his work.  While undeniably powerful, it's worth exploring both the strengths and limitations of this technique.

Strengths:

Visceral Impact: Hughes' depictions are vivid and often brutal. Poems like "Pike" or "The Hawk" thrust the reader into the animal's world, highlighting its raw power and instinct. This creates a strong emotional response and a sense of awe for the natural world.

Exploration of Themes: Animals become metaphors for complex human experiences. "The Thought Fox" uses the image of a hunting fox to represent the creative process. Similarly, poems like "Jaguar" delve into the primal aspects of human nature through the animal lens.

Duality of Nature: Hughes doesn't shy away from portraying the animal kingdom's beauty and violence. This duality reflects his own view of nature, a place of both wonder and fierce struggle. Poems like "Crow" showcase this complexity.

Potential Limitations:

Anthropomorphism: Attributing human emotions and motivations to animals can be seen as a limitation. While it allows for deeper exploration of human themes, it risks blurring the lines between the human and animal worlds.

Accessibility: The raw violence in some poems can be alienating to readers. The focus on predation and death might overshadow the deeper themes for some audiences.

Oversimplification: Reducing human experiences to animalistic metaphors can be seen as simplistic. Humanity is more nuanced than what the animal kingdom can solely represent.

Nuance is Key:

The true power of Hughes' animal imagery lies in its nuance. Poems like "The Pike"  don't simply glorify violence, but use it to explore themes of power, isolation, and beauty.  Similarly, "The Thought Fox" doesn't equate creativity with hunting, but uses the metaphor to capture the focus and relentlessness of the creative process.

Conclusion:

Ted Hughes' use of animal imagery offers a powerful and multifaceted lens through which to explore human nature and the complexities of the natural world. While some limitations exist, appreciating the nuance within these metaphors allows for a richer understanding of Hughes' work and the profound connection between humans and the animal kingdom.

Imagism used by Ted Hughes

 Ted Hughes' poetry shows a strong connection to Imagism, even though he emerged after the movement's peak. Here are some ways his work reflects Imagistic principles:

Vivid Imagery: Imagism emphasizes clear, concise images that paint a picture in the reader's mind. Hughes excels at this. Look at "The Thought Fox," where he describes the fox's creation entirely through sensory details:

I imagine it rising up

From the center of its skull,

A dark thing, with red eyes

Focus on the Object: Imagists believed the poem itself should be the "object" of attention, not a platform for emotions or messages. Hughes' animal poems, like "Pike," don't moralize about the pike's nature, but present it with unflinching detail:

A hung head spiked through its brain.

Direct Language: Imagists favored plain speech over overly decorative language. Hughes' poems are full of strong verbs and concrete nouns, like in "Hawk Roosting":

I sit at the top of the food chain.

While Hughes wasn't a strict follower of Imagism, he clearly took inspiration from its core ideas.  These are just a few examples – exploring other poems in your syllabus like "Wind" or "The Jaguar" might reveal even more Imagistic techniques!

Style of Ted Hughes

 The Brutal Ballet: Style in Hughes' "Hawk Roosting" and "Crow's Fall"

Ted Hughes' poetry pulsates with a raw energy, a visceral exploration of nature and its untamed power. His style, though not easily categorized, draws upon various influences, but two poems, "Hawk Roosting" and "Crow's Fall," showcase a distinct approach characterized by intense imagery, stark contrast, and a profound engagement with violence.

Vivid Detail and Sensory Overload:

  Hughes paints landscapes not with broad strokes, but with a meticulous focus on detail. In "Hawk Roosting," the world narrows to the hawk's perspective. The "feathered fuse" of its legs, the "cold eye" fixed on its kill, and the "hooked head" dripping with blood – these sensory details create a stark picture of predatory dominance. Similarly, "Crow's Fall" opens with the grotesque image of the crow's "blackened gut" spilling, its "feathers stuck like glue" to the tarmac. Hughes doesn't shy away from the harsh realities of the natural world.

Stark Contrasts:  The world of Hughes' poems is one of stark contrasts. In "Hawk Roosting," the hawk embodies focused power and control. We see its "balance" and "death's head." Here, death is not an end, but a necessary part of the natural order. This contrasts with the crow in "Crow's Fall," a creature of chaos and confusion. Its "obsolete and careless flight" leads to a sudden, messy demise. These contrasting portrayals highlight the unpredictable and multifaceted nature within the animal kingdom.

Violence as a Force of Nature:  Violence is not gratuitous in Hughes' work; it becomes a fundamental force that shapes the natural world. In "Hawk Roosting," the hawk's "place" is defined by its predatory instincts. Its "patient eye" seeks out the "sudden thump" of prey, a moment of violence that ensures its survival.  Similarly, the crow's fall is a violent event, but it becomes part of the ongoing cycle of life and death. Hughes doesn't shy away from portraying the brutality, but he avoids romanticizing it. It's a raw and necessary part of the natural order.

Beyond Imagism:  While Hughes shares the Imagist movement's focus on vivid imagery, his poems go beyond mere representation. The violence and contrasting elements become symbolic. In "Hawk Roosting," the hawk represents a primal power, a being in complete control of its environment. In "Crow's Fall," the crow's clumsy demise signifies the fragility of life, even for those who inhabit the wild.  Hughes uses these contrasting portrayals to explore broader themes of existence and the precarious balance of nature.

In conclusion, Ted Hughes' style, as exemplified in "Hawk Roosting" and "Crow's Fall," is one of intense imagery, stark contrast, and a profound engagement with violence. He uses vivid details to immerse the reader in the world of his poems, while contrasting elements and the portrayal of violence raise questions about the power and fragility of life within the natural world. His poems are not mere depictions, but explorations that challenge and provoke the reader to confront the raw reality of existence.