Philip Larkin’s attitude towards religion.

 

Philip Larkin, a renowned English poet, approached the topic of religion with a distinct attitude of skepticism and doubt, as seen in his poems "Church Going" and "MCMXIV." While Larkin acknowledged the historical and cultural significance of religion, his exploration of these themes reveals a critical perspective on the declining influence of organized religion in modern society.

In "Church Going," Larkin contemplates the purpose and relevance of religion in an increasingly secular world. The poem's speaker enters an empty church and explores its physical aspects, such as the architecture and religious artifacts. Larkin captures a sense of detachment and uncertainty, questioning the significance of the church and its rituals. The speaker's skepticism is evident in lines such as, "And what remains when disbelief has gone?" Here, Larkin implies that as religious faith diminishes, the role of the church becomes less clear.

Larkin's critical attitude towards religion is also reflected in his depiction of the decline of religious attendance. The poem describes the "cryptic" signs of dwindling congregations, suggesting that fewer people are turning to religious institutions for guidance or solace. Larkin's use of imagery and language, such as "a few thousand backsides" and "and at the end, / The ruin of a farm," conveys a sense of desolation and decay associated with the waning influence of religion.

Similarly, in "MCMXIV," Larkin explores the theme of religion in the context of World War I. The poem portrays the loss of innocence and the shattered illusions of the pre-war era. Larkin describes a time when people gathered in public spaces, seemingly unaware of the impending devastation. The poem emphasizes the contrast between the idealized past and the harsh realities of war.

In relation to religion, "MCMXIV" suggests that the war led to a questioning of traditional beliefs and values. Larkin describes a war memorial as a "place of workship" where people gather to honor the fallen. However, the poem subtly implies that this act of remembrance has become a substitute for religious faith. The lines, "names in alphabets of steel / … as if their final bargains were made in clubs," hint at the notion that commemoration has replaced religious devotion, and the church no longer provides solace in times of tragedy.

While Larkin's attitude towards religion can be seen as critical, it is important to note that his exploration of the topic is complex and nuanced. He does not outright dismiss the role of religion in society but raises questions about its relevance and the changing values of modernity. Larkin's skepticism reflects a broader cultural shift towards secularism and the declining influence of organized religion.

In conclusion, Larkin's attitude towards religion, as depicted in "Church Going" and "MCMXIV," is characterized by skepticism, doubt, and a critical exploration of its diminishing significance. Through his poetry, Larkin questions the purpose and relevance of religious institutions in modern society, reflecting a broader societal shift towards secularism. While acknowledging the historical and cultural importance of religion, Larkin's poems reveal his contemplation of the decline of religious faith and the shifting values of the contemporary world.

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‘Pike’ and ‘The Jaguar’ as a modern poem/view of modern culture.

 

"Pike" and "The Jaguar," two notable poems by Ted Hughes, can be seen as exemplars of modern poetry in their exploration of themes, employment of vivid imagery, and engagement with the complexities of the modern world.

In "Pike," Hughes delves into the primal instincts and inherent violence present in both the natural world and human nature. This exploration aligns with the modernist sensibilities of the early 20th century, which sought to challenge traditional norms and expose the darker aspects of existence. Hughes employs vivid imagery to evoke the physical presence of the pike, describing it as "Pike, three inches long, perfect / Pike in all parts, green tigering the gold." This imagery not only captures the essence of the creature but also serves as a metaphor for the hidden violence and power that lurks beneath the surface of life.

Furthermore, Hughes uses the pike as a symbol to reflect the complexities of the modern world. The pike's predatory nature and survival instincts mirror the aggressive and competitive aspects of human society. By exploring the inherent violence in nature and human behavior, Hughes confronts the realities of the modern world, challenging conventional notions of harmony and tranquility. In this way, "Pike" engages with the modernist tradition of questioning and critiquing established norms.

Similarly, "The Jaguar" can be viewed as a modern poem due to its exploration of captivity, power, and the longing for freedom. The poem is set in a zoo, a microcosm of the modern world where confinement and artificial structures restrict the natural instincts of wild creatures. Hughes vividly describes the monotonous existence of the captive animals, highlighting their lack of freedom and vitality. The jaguar emerges as a symbol of untamed power, defying the constraints imposed upon it. The poem captures the yearning for liberation and the inherent desire to break free from societal limitations—a theme that resonates with the modernist ethos of challenging authority and seeking individual autonomy.

Moreover, Hughes' use of vivid and sensory imagery in "The Jaguar" contributes to its modernist character. He employs rich and evocative language, such as "And the apes yawn and adore their fleas in the sun" and "The parrots shriek as if they were on fire, or strut," to paint a vibrant picture of the zoo environment. This attention to sensory detail immerses the reader in the scene, evoking a visceral response and enhancing the modernist emphasis on individual experience and subjective perception.

Additionally, both "Pike" and "The Jaguar" exhibit a fragmented and non-linear structure, which is another hallmark of modern poetry. Hughes does not adhere to a strict narrative or conventional form, instead opting for a fragmented approach that mirrors the chaotic and fragmented nature of the modern world. This fragmentation allows for a multiplicity of interpretations and encourages readers to engage actively with the poems, piecing together their own understanding of the themes and imagery presented.

In conclusion, "Pike" and "The Jaguar" can be considered modern poems due to their exploration of primal instincts, engagement with the complexities of the modern world, vivid imagery, and fragmented structure. Ted Hughes' ability to capture the essence of the natural world, delve into the darker aspects of human existence, and challenge established norms aligns with the modernist tradition of pushing the boundaries of poetic expression. Through these poems, Hughes invites readers to confront the complexities of the modern condition and engage with the vibrant and transformative power of poetic language.

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Critical survey of Ted Hughes poetry

 

Ted Hughes, one of the most influential poets of the 20th century, explored various themes and subjects in his poetry, including the natural world and the primal instincts of animals. Two of his notable poems, "Pike" and "The Jaguar," exemplify his unique style and his ability to capture the essence of the animal kingdom while delving into deeper human emotions and experiences.

In "Pike," Hughes presents a vivid and menacing portrayal of the predatory fish. The poem begins by describing the pike's physical attributes with meticulous detail, emphasizing its power and formidable presence. The language used is both precise and evocative, allowing readers to visualize the pike's "green tigering the gold" and its "jaws that hold like clamps." This attention to detail and imagery not only showcases Hughes' poetic prowess but also reflects his fascination with the natural world.

As the poem progresses, Hughes delves deeper into the pike's nature and its relationship with its environment. He explores the pike's predatory instincts and its need to hunt and kill, emphasizing the violence inherent in its existence. The line "Three we kept behind glass, / Jungled in weed" captures the pike's captivity, suggesting that it represents a primal force that is difficult to control or contain. This exploration of the primal instincts of the pike serves as a metaphor for the darker aspects of human nature, highlighting the presence of violence and survival instincts within all living beings.

Similarly, in "The Jaguar," Hughes captures the untamed spirit and wild energy of the majestic big cat. The poem takes place in a zoo, where the animals are confined, yet the jaguar stands out as a symbol of untamed power and freedom. The imagery used to describe the jaguar is vibrant and dynamic, with phrases like "spin of will" and "stir of king" conveying the animal's restless energy. Hughes contrasts the mundane and dreary surroundings of the zoo with the electrifying presence of the jaguar, creating a sense of rebellion and longing for freedom.

"The Jaguar" also explores the human desire for liberation and the need to break free from societal constraints. The poem ends with the lines "There is no cage to him / More than to the visionary his cell," suggesting that the jaguar, despite being physically confined, possesses an inner freedom that transcends its physical limitations. This theme of inner liberation resonates with readers and invites them to reflect on their own desires for freedom and authenticity.

Both "Pike" and "The Jaguar" showcase Hughes' distinctive style, characterized by vivid imagery, precise language, and a deep connection with the natural world. These poems demonstrate his ability to capture the essence of animals and use them as metaphors to explore complex human emotions and experiences.

In conclusion, Ted Hughes' poems "Pike" and "The Jaguar" exemplify his poetic mastery and his exploration of the natural world and human nature. Through his precise imagery and evocative language, Hughes captures the primal instincts of animals and delves into deeper human emotions and desires. His ability to interweave the natural and human realms in his poetry creates a rich tapestry of meaning and invites readers to reflect on their own place within the intricate web of existence.

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Define absurd drama. Discuss Waiting for Godot as an absurd play

 

Absurd Drama is a sub-genre of Drama that focuses on the absurdity of human existence. It is very clear from the very word "Absurd" that it means nonsensical, opposed to reason, something silly, foolish, senseless, ridiculous and topsy-turvy. Moreover, a play having loosely constructed plot, unrecognizable characters, metaphysical called an absurd play.

Samuel Beckett is considered to be an important figure among the French Absurdist’s. "Waiting for Godot" is one of the masterpieces of Absurdist literature. Elements of Absurdity for making this play are so engaging and lively.

Characteristics of Absurd Theater:

• No story or plot
• No characterization and motivation
• Neither a proper beginning nor ending
• Unexplained themes
• Imitation of dreams or nightmares instead of nature
• Useless dialogues

 

Waiting for Godot by Samuel Beckett

“Waiting for Godot” as an Absurd Play:

“Waiting for Godot” fulfills every requirement of an absurd play. It has no story, no characterization, no beginning nor any end, unexplained themes, imitation of dreams and nightmares and above all it contains useless dialogues.

No story or plot:

“Waiting for Godot” does not tell any story nor does it has a plot. The play starts with waiting and ends with it. Characters do not go anywhere. They stand still in front of audience and do nothing except passing the ball. They talk and pass the time. Actions of characters are not related to plot but to themselves. Vladimir and Estragon wait for Godot and audience perceive that perhaps real story of the play will start after Godot’s arrival but Godot does not appear on stage nor is he introduced to the audience. Eventually, play ends with waiting. In this ways, “Waiting for Godot” fulfills first requirement of an absurd play.

Lack of Characterization:

We don’t know past of the characters. They are not introduced to the audience. We know only their names and their miserable situation. Their motifs are unclear. Although it is explicit that they are waiting for Godot yet it is not told to the audience that what purpose Godot will serve if he comes. Hence, lack of characterization proves that “Waiting of Godot” is a play of absurd theater.

No Beginning and End:

It has no beginning nor has any end. It starts with a situation and ends with it. Both the acts start and end in same way. When characters come on stage they reveal their purpose. They say they are waiting but Godot does not come and the act ends with waiting. Second act is also the copy of first act with minor differences. The play goes on and eventually ends with wait. Hence, there is no proper start of the play nor does it has a proper end.

It is a play in which nothing happens twice…. “Nothing happens, nobody comes … nobody goes, it’s awful!”.

Fulfillment of this requirement also proves that “Waiting for Godot” is an absurd play.

Useless Dialogues:

Most of the dialogues of this play serve no purpose. Whole play is based on delivery of dialogues but most of them have no apparent meanings. Every dialogue is full of symbols. Every word refers something in hidden meaning but it lacks the interest of audience because it lacks action.

Dialogues create action in every play. Action loses its importance without worthy dialogues. In case of “Waiting for Godot”, no action has been presented, therefore, dialogues are boring and they are written just to pass the ball. Word “nothing” has been repeated numerously in the play. It actually indicates nothingness in it.

Unexplained Themes:

Unclear themes also make “Waiting for Godot” a play of absurd theater. Audience do not observe any obvious theme in the play. Superiority of a play is always dependent on its themes. “Waiting for Godot” has no obvious theme. If there is any, it is hidden.

Imitation of Nightmares:

This play does not hold the mirror up to nature. It does not portray the manners and mannerisms of the ages. Martin Esslin is true in his definition of theater of absurd. This play “seem[s] often to be reflection of dreams and nightmares”.

At last but not the least, “Waiting for Godot” is entirely unconventional play. Samuel Becket violated all dramatic conventions. Indeed, every ingredient of theater of absurd has been fulfilled by him. Regardless of that this play is successful. He wrote this play to break the rules of traditional dramatists. “Waiting for Godot” completes every factor of theater of absurd, therefore, it can successfully be called the play of absurd.

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Do you think that the Pozzo-Lucky relationship has any symbolic significance?

 

The Puzzo-Lucky pair plays a very significant role in portraying Beckett's world-view in Waiting for Godot. The dominant theme of this play is waiting, boredom, ignorance, and impotence. The Pozzo-Lucky relationship does not seem to have any basic or integral connection with this dominant theme. In fact, the connection between the two pairs of characters is not very close or intimate. Even if the Pozzo-Lucky episodes were removed from the play, the play would still stand and be satisfactory representation of the ordeal of waiting for someone who does not turn up or for something which does not materialize.

There are many interpretations of Pozzo and Lucky and their symbolic significance. According to one interpretation, these two men represent a master and a slave. According to other interpretations, Pozzo and Lucky symbolise the relationship between capital and labour, or between wealth and artist. A group of critics found autobiographical Origin: Pozzo representing James Joyce and Lucky as Samuel Backett. Another critic characterizes Pozzo as the God of the Old Testament, the tyrant in Act-1 and the New Testament God, helpless, crucified in Act-II.

Thus we have almost as many interpretations as there are critics. One of the critics says that, while Pozzo and Lucky may be body and intellect, master and slave, capitalist and proletarian, sadist and masochist, Joyce and Beckett. But they essentially represent a way of getting through life just as Vladimir and Estragon represent another way of doing so.

Pozzo and Lucky create a metaphor society. Pozzo appears as all-powerful, dominating personality by virtue of his wealth. He reminds us of a feudal lord. It is Lucky who gives Pozzo's ideas into real shapes. But for Lucky and Pozzo's thoughts and all his feelings would have been of common things. "Beauty, grace, truth of the first water"- these were originally all beyond Pozzo. But Lucky is now a puppet who obeys Pozzo's commands. He dances, sings, recites, and thinks for Pozzo and his personal life has been reduced to basic animal reflexes: he cries and he Kicks. But once Lucky was a better dancer and capable of giving his master moments of great illumination and joy; he was kind, helpful, entertaining, Pozzo's good angel. But now he is "killing" Pozzo, or so Pozzo believes.

In the play Waiting for Godot, we first see Lucky driven by Pozzo by means of a rope tied round his neck. All of Lucky's actions seem unpredictable, in Act-I, when Estragon attempts to help him. Lucky becomes violent and kicks him. Lucky seems to be more animal than human, and his very sentence in the drama is a parody of human sentence. In Act-II, when he arrives completely dumb, it is only a tilting extension of his condition in Act-I. Now he makes no attempt to utter any sound at all. Lucky represents the man, reduced to lead the blind, not by intellect, but by blind instinct.

There is another way of approaching this curious pair of characters. Perhaps, in the portrayal of Pozzo, Beckett has given us a caricature of God, the absolute power. Pozzo is the living symbol of the Establishment. He is an egotist, full of self-love. Pozzo's greatest concern is his dignity. He rebukes the tramps for asking him a question: "A moment ago you were calling me sir, in fear and trembling. Now you're asking me question. No good will come of this!" Here Pozzo's absolute mastery, his divinely delegated powers, must remain unchallenged.

Pozzo and Lucky represent the antithesis of each other. Yet they are strongly and irrevocably tied together- both physically and metaphysically. Any number of polarities could be used to apply to them. If Pozzo is the master, then Lucky is the slave. If Pozzo is the circus ring master, then Lucky is the trained or performing animal; if Pozzo is the sadist. Lucky is the masochist. Or Pozzo can be seen as the Ego and Lucky as the Id. Samuel Beckett, with his hope to represent human beings and super ego, has drawn the Pozzo-Lucky pair that has a great symbolic significance in the play.

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Philip Larkin as a movement poet

 

A literary movement, also known as a literary school or literary group, refers to a collective of writers who share similar artistic, thematic, or stylistic concerns during a specific period of time. Philip Larkin is often regarded as a poet associated with the Movement, a literary group in post-World War II England.  Larkin's poems "Church Going" and "MCMXIV" can be examined within the context of his position as a movement poet, demonstrating his engagement with the concerns and aesthetic principles of the movement.

One of the central features of Movement poetry is its focus on everyday life and the ordinary experiences of individuals. In "Church Going," Larkin explores the theme of the decline of religious faith and the dwindling significance of the church in modern society. The poem centers around the speaker's visit to an empty church, symbolizing the loss of faith and the erosion of traditional values. Larkin's attention to the mundane details of the church, such as the "plaque and matting, seats, and stone," reflects the Movement's commitment to capturing the ordinary aspects of life and elevating them to poetic significance.

Likewise, "MCMXIV" can be seen as a movement poem through its portrayal of the ordinary lives of people before the outbreak of World War I. Larkin describes the streets, shops, and individuals going about their daily routines, creating a vivid image of a peaceful and simpler time. This focus on the ordinary highlights the Movement's interest in capturing the essence of the everyday and the impact of historical events on the lives of ordinary individuals.

Another characteristic of Movement poetry is its skepticism towards grand narratives and ideologies. In "Church Going," Larkin presents a critical perspective on religion, questioning its relevance and casting doubt on its significance. The poem explores the decline of religious faith and the erosion of traditional beliefs in a secular and modern world. Larkin's skepticism aligns with the Movement's rejection of ideological grandeur and its preference for a more individualistic and realistic approach to life.

Similarly, "MCMXIV" reflects a skepticism towards the idealized notions of the pre-war era. The poem juxtaposes the innocent past with the harsh realities of war, debunking romanticized notions of national pride and unity. Larkin's critical examination of historical events and societal values aligns with the Movement's rejection of sentimentalism and its inclination towards a more nuanced understanding of the human condition.

In terms of form and style, Larkin's poems often display a plain and direct language, eschewing elaborate metaphors and intricate structures. This simplicity of expression is a characteristic feature of Movement poetry, emphasizing clarity and accessibility. Larkin's use of precise and concrete imagery, as seen in both "Church Going" and "MCMXIV," contributes to the straightforward and unadorned style associated with the movement.

In conclusion, Philip Larkin can be considered a movement poet in relation to his poems "Church Going" and "MCMXIV." His engagement with the concerns of the Movement, such as the focus on everyday life, skepticism towards grand narratives, and simplicity of expression, is evident in these poems. By capturing the ordinary experiences of individuals and challenging established ideologies, Larkin contributes to the movement's broader aim of bringing a realistic and accessible perspective to poetry.

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Discuss Meursault as an existential hero

 Meursault, the protagonist of Albert Camus' novel "The Stranger" ("L'Étranger"), is often regarded as an existential hero. Through his detached and indifferent demeanor, Meursault embodies key existentialist principles and challenges traditional societal expectations. Let's explore Meursault's character and actions, and how they reflect existentialist themes.

Existentialism is a philosophical movement that emphasizes individual existence, freedom, and the absence of inherent meaning or purpose in life. Meursault's character epitomizes these existentialist concepts in several ways.

1. Absurdity and Meaninglessness: Meursault's outlook on life is marked by a sense of absurdity and meaninglessness. He views life as a series of random events with no inherent purpose. This is evident in his indifferent response to his mother's death at the beginning of the novel. Rather than conforming to societal expectations of grief, Meursault remains detached and seemingly unaffected. This lack of emotional response highlights his belief in the inherent meaninglessness of human existence.

2. Alienation and Isolation: Meursault's alienation from society is a crucial element of his existentialist heroism. He feels disconnected from the social norms and expectations that govern the lives of others. This is apparent in his indifference to social conventions and his inability to connect with others on an emotional level. Meursault's isolation is further reinforced when he is put on trial for murder, as his refusal to conform to societal expectations makes him an outsider in the eyes of the court and the public.

3. Authenticity and Freedom: Meursault's authenticity lies in his unwavering commitment to his own experiences and desires. He refuses to play the roles assigned to him by society or adhere to established moral codes. Instead, he acts in accordance with his own instincts and desires. This is exemplified in his refusal to lie during his trial, even when doing so could have potentially saved him from the guillotine. Meursault's actions demonstrate his embrace of personal freedom and his rejection of external constraints.

4. Confrontation with Mortality: Meursault's confrontation with mortality plays a significant role in his existential journey. Throughout the novel, death is a recurring theme, serving as a constant reminder of life's transience. Meursault's acceptance of the inevitability of death and his refusal to succumb to fear or despair align with existentialist ideas. He recognizes that death is the ultimate truth of existence and refuses to allow it to dictate his actions or attitudes.

In conclusion, Meursault embodies the existential hero through his indifference to societal norms, his alienation from others, his pursuit of personal freedom and authenticity, and his confrontation with mortality. His character reflects existentialist themes such as the absurdity and meaninglessness of life, the importance of individual freedom, and the need for individuals to create their own meaning in an inherently chaotic and uncertain world.

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Existentialism with reference to “Fern hill” and “Do not go gentle into that good night”

 

Existentialism is a philosophical movement that emerged in the 20th century, exploring the individual's existence and the meaning of life. It emphasizes the freedom and responsibility of individuals to make choices and create their own meaning in an uncertain and often absurd world. When discussing existentialism in relation to Dylan Thomas's poem "Fern Hill" and Dylan Thomas's "Do not go gentle into that good night," we can explore themes of time, mortality, and the human condition.

"Fern Hill" is a nostalgic and reflective poem that portrays the passage of time and the loss of innocence. It explores the existential theme of human existence in the face of an inevitable and uncontrollable force—time. The speaker reminisces about his childhood experiences at Fern Hill, a rural landscape filled with beauty and joy. However, as time progresses, the innocence and joy of the speaker's youth fade away, giving way to a realization of mortality and the transient nature of life.

In the context of existentialism, "Fern Hill" raises questions about the meaning of life and the significance of human existence. The speaker's longing for the past and the loss of innocence can be seen as an expression of the human desire to find meaning and hold onto fleeting moments. The poem suggests that the passage of time ultimately robs individuals of their innocence and youthful vitality, leaving them to confront the existential realities of aging, mortality, and the transience of existence.

Similarly, "Do not go gentle into that good night" explores existential themes but in a different manner. The poem is a villanelle, a highly structured form of poetry, and it addresses the universal topic of death. The poem implores individuals to resist death and fight against its inevitability, urging them to live fully until the end. It portrays various characters, including wise men, good men, wild men, and grave men, who are encouraged to rage against the dying of the light.

From an existentialist perspective, "Do not go gentle into that good night" captures the existential struggle against the limits and constraints of human existence. It emphasizes the importance of individual choice, defiance, and the refusal to accept fate passively. The poem suggests that individuals should strive to live authentically, resisting the despair and resignation that can arise when faced with mortality. By raging against death, the poem implies that individuals can assert their freedom and affirm their existence in the face of the inevitable.

In both "Fern Hill" and "Do not go gentle into that good night," existentialist themes of time, mortality, and the human condition are explored. These poems highlight the tension between the desire for meaning and the harsh realities of existence. They encourage reflection on the fleeting nature of life, the choices individuals make, and the existential struggle to find purpose and create meaning in an uncertain world.

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Mrs. Dalloway by Virginia Woolf - Full Book Summary

 

“The World had raised its whip; where will it descend?”

-  Mrs Dalloway

 

Virginia Woolf was a British writer and one of the foremost modernists of the 20th century. Woolf's literary career began in earnest in the early 1910s. He is popularly well-known as a novelist specially for writing Mrs. Dalloway. Besides, To the Lighthouse and Orlando are famous novels written by him.

Mrs. Dalloway portrays a single day in the life of a woman from sunrise tonight. Clarissa Dalloway is an upper-class housewife. She goes on a walk around her London neighborhood in preparation for a party. Peter Walsh, an old suitor, and acquaintance, unexpectedly comes by her house when she returns from flower buying. They've always been harsh on one other. Their current interaction is linked with their memories of the past.

Clarissa had turned down Peter's marriage proposal years before. Peter has never fully recovered the pain. Clarissa is asked if she is satisfied with her husband, Richard. But she is interrupted by her daughter, Elizabeth. Because Elizabeth enters the room before Clarissa can respond. Peter gets in his car and drives to Regent's Park in London. He is still haunted by Clarissa's rejection. Woolf writes,

"Peter Walsh had been in love with her, had never told her, had never done anything"

The focus switches to Septimus who is a World War I soldier. He was injured in trench battle and is now suffering from shell shock. Septimus and Lucrezia, his Italian wife, relax in Regent's Park. They're waiting for Septimus' meeting with famous psychiatrist Sir William Bradshaw. Septimus was a blossoming young poet and Shakespeare admirer before the conflict.

Septimus had become immune to the horrors of war and its aftermath. He showed little grief when his buddy Evans died. He now sees nothing worthwhile in the England for which he fought. He has lost interest in preserving either his society or himself. Woolf writes,

"What was this terror?...... He was alone; he was unheeded, happy, and near to the wild heart of life".

This quote highlights the complexity of Septimus's mental illness. He feels a sense of terror and despair. But he also has moments of happiness and connection with life.

He is suicidal and thinks that his inability to feel is a crime. Septimus' experiences in the battle have clearly left him traumatized. He suffers from significant mental issues. Sir William, on the other hand, ignores Septimus' words. Septimus will be separated from Lucrezia and sent to a mental facility in the country, according to Sir William. Woolf writes,

"He went to France to save an England which consisted almost entirely of Shakespeare's plays and Miss Isabel Pole in a green dress walking in a square".

Hugh Whitbread and Lady Bruton, members of high society, attend lunch with Richard Dalloway. The gentlemen assist Lady Bruton in writing a letter to the Times newspaper. Richard arrives home to Clarissa with a big bouquet of roses after lunch. Richard arrives home to Clarissa with a big bouquet of roses after lunch.

Clarissa explores the gap that occurs between individuals, including husband and wife relationships. Even though she loves the privacy she can preserve in her marriage. She considers it essential to the relationship's success.

Clarissa watches Elizabeth and Miss Kilman, her history teacher. The two older ladies strongly dislike one another. Each thinks the other to be an oppressive influence in Elizabeth's life. As Elizabeth and Miss Kilman walk away, Clarissa observes them from her window and reflects on their relationship:

"She had been reconciled to this daughter lately; and what had made the change in her feelings was that she had asked her ................. down to buy a hat".

Meanwhile, Septimus and Lucrezia are having a happy time together in their apartment. Dr. Holmes, one of Septimus' physicians, comes, and Septimus is afraid the doctor will kill his soul. To avoid this destiny, he leaps to his death from a window.

When Peter hears the ambulance arrive to collect Septimus' body, he marvels sarcastically at London's degree of civilization. He attends Clarissa's party, which brings together the majority of the novel's key characters. Clarissa works tirelessly to ensure the success of her party. But she is unsatisfied with her own role and painfully aware of Peter's critical eye. 

All of the partygoers, notably Peter and Sally Seton, have failed to realize their childhood ambitions to some extent. Although the social order is certainly shifting, Elizabeth and her generation are likely to imitate Clarissa's mistakes.This lack of understanding and emotional distance may lead Elizabeth to feel neglected and resentful. The passage reads:

"Elizabeth could not help watching her mother, quietly, as she went about the room”

Sir William Bradshaw comes late, and his wife informs him that Septimus has killed himself. Clarissa locks herself up in a small room to think about Septimus' death. She realizes he was overwhelmed by life, and that people like Sir William made life unbearable.

Septimus inspires her, and she admires him for taking the risk and not sacrificing his soul. She believes she is to blame for his death because of her fortunate status. As the celebration draws to a conclusion, visitors begin to depart. Clarissa enters the room, and Peter becomes fascinated by her presence.

In conclusion, Peter Walsh's unrequited love for Clarissa Dalloway is a significant theme in Mrs. Dalloway. His inability to express his feelings leads to a sense of despair and hopelessness. He is unable to move on from his love for Clarissa, and it impacts his relationships with other people. The novel portrays the complexity of love and the impact it can have on an individual's life.

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Major themes in Larkin’s poetry with reference to “Church” and MCMXIV”

 

Philip Larkin, one of the most prominent English poets of the 20th century, is known for his contemplative and often pessimistic reflections on various aspects of life. Two of his notable poems, "Church Going" and "MCMXIV," touch upon major themes that are prevalent throughout his body of work.

In "Church Going," Larkin explores the theme of the loss of religious faith and the declining significance of religion in the modern world. The poem begins with the speaker entering an empty church out of curiosity. He wanders through the building, observing its architecture, religious artifacts, and the absence of worshippers. Larkin captures the dwindling attendance and the speaker's own skepticism about the purpose and future of such places of worship. He muses on the waning influence of religion and questions its relevance in contemporary society. Larkin's portrayal of the church as a relic of the past reflects his contemplation of the erosion of faith in an increasingly secular world.

Similarly, "MCMXIV" (1914 in Roman numerals) explores themes of nostalgia and loss, particularly in the context of World War I. The poem reflects upon the innocent pre-war era and contrasts it with the brutal realities of the conflict. Larkin vividly describes the lives of ordinary people before they were affected by the war's devastation. Through his depiction of streets, shops, and people going about their daily lives, he creates a vivid image of a peaceful and simpler time. However, the poem takes a darker turn as Larkin introduces the war memorial, highlighting the loss of innocence and the irreversible changes brought about by the conflict. The poem ultimately captures a sense of nostalgia for a lost world and mourns the loss of lives and the shattered illusions of the past.

Another recurring theme in Larkin's poetry, evident in both "Church Going" and "MCMXIV," is the contemplation of time and mortality. In "Church Going," the speaker reflects on the transient nature of human existence compared to the enduring presence of the church. The poem suggests that while individuals may come and go, the church stands as a symbol of continuity and permanence. This theme is echoed in "MCMXIV" as well, as Larkin juxtaposes the idealized past with the reality of the present. The poem highlights the passage of time and its impact on society, conveying a sense of loss and the inevitability of change. Larkin often uses imagery of decay and decline to underscore the fleeting nature of life and the ultimate futility of human endeavors.

Moreover, Larkin's poetry often contains a social and cultural critique. In "Church Going," he critiques the loss of religious faith and questions the relevance of organized religion in a modern and secular society. The poem presents the church as a relic of the past, serving as a commentary on the erosion of traditional beliefs and the changing values of contemporary society. Similarly, "MCMXIV" offers a critical perspective on the impact of war. Larkin portrays the war as a rupture in history, disrupting the idealized world of the past and exposing the harsh realities of conflict. The poem reflects on the loss of innocence, the destruction of societal structures, and the disintegration of traditional values, offering a poignant critique of the human condition.

In summary, "Church Going" and "MCMXIV" encapsulate several major themes present in Philip Larkin's poetry. These themes include the loss of religious faith, nostalgia and loss, the contemplation of time and mortality, and social and cultural critique. Through his introspective and often somber reflections, Larkin explores the complexities of human existence, the changing nature of society, and the challenges of finding meaning and purpose in a rapidly evolving world.

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