English Literature

 Tragic irony was used initially in ancient Greek tragedy and later almost in all tragedies. Irony consists essentially in the contrast of the two aspects of the same remark or situation. A remark made by a character in a play may have one meaning for him and another meaning for other character and the audience or one meaning for the speaker and the other characters and another meaning for the audience. Similarly, a situation may have a double significance in the sense that a disaster may be foreseen by the audience while the characters may be ignorant of it. Irony heightens the tragic effect. Sophocles has used irony with striking effect in his plays. �Oedipus Rex� is replete with tragic irony and is found in most of the speeches and situations. There are many occasions on which the audience is aware of the facts while the speaker is ignorant of those facts and some other characters, on the other hand, present a contrast which lends an increased emphasis to a tragic fact or to the ult

Greek tragedy is said to develop itself from the group of dancers and singers who used to partake in the worship of various gods. According to Aristotle the Chorus should be like one of the characters. Gradually the role of the Chorus became less and less important in classical tragedy, until in Roman tragedy the speeches of the Chorus were supposed to be made in between the acts. Chorus discharges some broad functions in all classical tragedies. The structure of a Greek tragedy is determined by the Chorus. After the prologue, it is with the entry of the Chorus that a Greek tragedy begins. Various episodes are also marked off by choric odes. The conclusion of a Greek tragedy occurs with the exode or the exit song of the Chorus. It is the function of the Chorus to comment on actions and events. It also sometimes questions the characters. Its standard role is that of the moderator. At times it represents the view-point of the common spectator and in some cases it represents the view-poin

According to Aristotle, a tragic hero is a distinguished person occupying a high position or having a high status in life and in very prosperous circumstances falling into misfortune on account of a �hamartia� or some defect of character. He should be good or fine man though not perfect. There is nothing to arouse the feelings of pity or fear in seeing a bad character pass from prosperity into misfortune while the ruin of a man who represents near-perfection in the moral sense is repugnant and horrible. The tragic hero is neither a moral paragon nor a scoundrel. He should be true to type, and consistent or true to himself. Aristotle would attribute disaster or catastrophe in a tragedy to an error rather than a deliberate crime. The main requirements of Aristotle in regard to the tragic hero are thus (1) high social standing, (2) moral excellence or goodness, and (3) some fault of character, or error committed by the hero in ignorance. Oedipus answers to all these requirements. Oedipus

�Oedipus Rex� is a tragedy of fate. The crucial events in the play have been pre-determined by fate or the gods. Man seems helpless facing the circumstances which mould his destiny. King Laius was told that his own son by Jocasta would kill him. Laius did everything possible to prevent such a disaster. Once Jocasta gave birth to a son, Laius had him chained and handed him over to a trustworthy servant with strict orders that the child be exposed on. Mt. Cithaeron and allowed to perish. But the servant, out of compassion, handed over the child to a Corinthian shepherd who passed him on to the Corinthian King. The child grew up as the son of the King and Queen of Corinth and later killed his true father, Laius, in complete ignorance. Apollo�s oracle was fulfilled even though Laius and Jocasta took the extreme step to escape the fate foretold by the oracle. Oedipus had also to submit to the destiny which Apollo's oracle pronounced for him. He learnt from the oracle that he would kill

According to Aristotle tragedy should arouse the feeling of pity and terror � pity for the hero�s tragic fate and terror at the sight of the dreadful suffering befalling particularly the hero. By arousing pity and terror, a tragedy aims at the catharsis of these and similar other emotions and cures these feelings which always exist in our hearts. A tragedy, hence, affords emotional relief and the spectators rise at its end with a feeling of pleasure. This, according to Aristotle, is the aesthetic function of tragedy. Through catharsis the emotions are reduced to a healthy and balanced proportion. Besides pity and fear an audience also experiences contempt, hatred, delight, indignation, and admiration. Still, these emotions are less important or less intense. Pity and fear are the dominant emotions and they are intensely produced. Tragedy, by means of pity, fear and other emotions also provides exercise and nourishment for the emotional side of human nature. It also satisfies our love o

Iago said: �I am not what I am.� What is Iago? -- as distinct from what he pretends to be -- and what are his motives? In Shakespeare's, Othello, the reader is presented the classic battle between the deceitful forces of evil and the innocence of good. It are these forces of evil that ultimately lead to the breakdown of Othello, a noble Venetian moor, well-known by the people of Venice as a honourable soldier and a worthy leader. Othello's breakdown results in the murder of his wife Desdemona. Desdemona is representative of the good in nature. Good can be defined as forgiving, honest, innocent and unsuspecting. The evil contained within Othello is by no means magical or mythical yet is represented by the character Iago. Iago is cunning, untrustworthy, selfish, and plotting. He uses these traits to his advantage by slowly planning his own triumph while watching the demise of others. It is this that is Iago's motivation. The ultimate defeat of good by the wrath of evil. Not o

There are lots of things to suggest this is a racist Play. Racism don't actually dominates the play, even though it has a racist theme. There is a romantic union between black and white which gets destroyed because most people think the relationship is wrong. At the time the play was written, 1604, even the Queen of England was racist so there must have been a strong hatred of blacks around that time.  Most racist comments in the play are said by people that are angry or upset. For example, when Emilia found out that Othellohad killed Desdemona she was extremely mad and she called Othello a �Blacker devil�, this was the only time in the play that she had said anything racist about Othello. The main characters that have racist attitudes are Iago, Brabantio, Roderigo and Emilia, with the hatred of Othello as the basis for their racist actions and comments towards him. Iago is the most racist character in the book as he has it in for Othello right from the start. What sparks off Iago&

The famous phrase, "The motive-hunting of motiveless Malignity," occurs in a note Samuel Taylor Coleridge wrote in his copy of Shakespeare, as he was preparing a series of lectures delivered in the winter of 1818-1819. The note concerns the end of Act 1, Scene 3 of Othello in which Iago takes leave of Roderigo, saying,  "Go to, farewell. Put money enough in your purse," and then delivers the soliloquy beginning  "Thus do I ever make my fool my purse." Here is Coleridge's note:  The triumph! again, put money after the effect has been fully produced.--The last Speech, the motive-hunting of motiveless Malignity--how awful! In itself fiendish--while yet he was allowed to bear the divine image, too fiendish for his own steady View.--A being next to Devil--only not quite Devil--& this Shakespeare has attempted-- executed--without disgust, without Scandal!-- (Lectures 1808-1819 On Literature 2: 315)  Coleridge's phrase is often taken to mean that Iago

Manners and Sincerity The major target of Wilde's scathing social criticism is the hypocrisy that society creates. Frequently in Victorian society, its participants comported themselves in overly sincere, polite ways while they harbored conversely manipulative, cruel attitudes. Wilde exposes this divide in scenes such as when Gwendolen and Cecily behave themselves in front of the servants or when Lady Bracknell warms to Cecily upon discovering she is rich. However, the play truly pivots around the word "earnest." Both women want to marry someone named "Ernest," as the name inspires "absolute confidence"; in other words, the name implies that its bearer truly is earnest, honest, and responsible. However, Jack and Algernon have lied about their names, so they are not really "earnest." But it also turns out that (at least in Jack's case) he was inadvertently telling the truth. The rapid flip-flopping of truths and lies, of earnestness and du

The Epic The epic is generally defined: A long narrative poem on a great and serious subject, related in an elevated style, and centered on a heroic or quasi-divine figure on whose actions depends the fate of a tribe, a nation, or the human race. The traditional epics were shaped by a literary artist from historical and legendary materials which had developed in the oral traditions of his nation during a period of expansion and warfare (Beowulf, The Odyssey, The Iliad). �An extended narrative poem, usually simple in construction, but grand in scope, exalted in style, and heroic in theme, often giving expression to the ideals of a nation or race. � Epic Conventions, or characteristics common to both types include: 1. The hero is a figure of great national or even cosmic importance, usually the ideal man of his culture. He often has superhuman or divine traits. He has an imposing physical stature and is greater in all ways than the common man. 2. The setting is vast in scope. It covers g

An epic, according to Aristotle, is the tragedy of a conspicuous person, who is involved in adventurous eventsand meets a tragic fallon account of some error of judgment i.e. hamartiawhich throws him from prosperity into adversity,however, his death is not essential. So, the subject matter of an epic is grandand that�s why it is written in bombastic languagen heroic couplet. Its style, too, is grand. A mock-epic is a satire of an epic. It shows us that even a trivial subject can also be treated on epical scale. The subject of �The Rape of the Lock� is trivial � a love dispute between a lady ad a gentleman. Lord Byron proposes Belinda who rejects his proposal. Baron cuts one of her beautiful looks. This trivial theme has been given epical treatment as if it were some grave event of paramount importance. The style of the poet is mock-heroic. He employs bombastic and showy diction for thoughts and ideas which are not really grand � pompous expression for low action � for example, the game

As Shakespeare is the poet of man, Pope is a poet of society. �The Rape of the Lock� is a social document because it mirrors contemporary society and contains a social satire, too. Pope paints about England in 18th century. The whole panorama of �The Rape of the Lock� revolves around the false standard of 18th century. Pope satirizes the young girls and boys, aristocratic women and men, their free time activities, nature of husbands and wives, the professional judges and politicians of the day. Pope clearly depicts the absurdities and the frivolities of the fashionable circle of the 18th century England. The world of Belinda � the world of fashion is a trivial world. The whole life of Belinda is confined to sleeping, make-up, enjoyment and alluring the lords. There are no transcendental elements in her life. This life is marked by ill-nature, affection, mischievousness, coquetry, yielding and submissive nature, fierce and unruly nature, infidelity, cheapness, meanness, trivialities and

Pope explains that �machinery� is a term invented by the critics to signify the part which deities, angles, or demons play in a poem. He goes on to say that the machinery in this poem is based on the Rosicrucian doctrine of spirits in which the four elements are inhabited by sylphs, nymphs, gnomes and salamanders. The sylphs, whose habitation is in the air, are the best-conditioned creatures. Pope tells us that beautiful women return, after their death, to the elements from which they were derived. Termagants or violent tempered women become salamanders or spirit of the fire. Women of gentle and pleasing disposition pass into nymphs or water-spirits. Prudish women become gnomes or earth spirits. Light-hearted coquettes are changed into sylphs or spirits of the air. The first and the foremost activity of the sylphs is the protection of fair and chaste ladies who reject the male sex. They guard and save the chastity of maidens and save them from falling victims to the �treacherous friend