Robinson Crusoe

In film we find some major themes like:

Adventure

Progress

Patriarchal society

Master slave relationship

Characters 

Robinson Crusoe
Friday
The captain Portuguese
The xury
The widow 
The spaniard 

This is a adventure story of Robinson Crusoe who is both the narrator and main character. We studied  a novel but when we  visualize things it give a better uundarsatanding. Because of this reason we also see one movie based on novel.

' Robinson Crusoe ' is very adventure story with interested novel. This novel written by Daniel Defoe in 18th century. It was published in 1719. In this novel chief character of Robinson Crusoe . This novel about the survival of Robinson Crusoe in a unkonw island. So Iet's discussion about some no table points in the movie and novel.

ofork in the seventeenth century, the youngest son of a merchant of German origin. Encouraged by his father to study law. Crusoe expresses his wish to go to sea instead. His family is completely against Crusoe going out to sea, and his father explains that it is better to seek a modest secure life for oneself. His family does not like. But for Robinson sea life is important. He likes sea life. But his family does not like. Initially Robinson is commited to obeying his father. When a strom causes the near deaths of crusoe and his friend, the friend is dissuaded from sea travel, but Crusoe still goes on to set himself up as merchant on a ship leaving London. This trip is financially successful and Crusoe plans profits in the care of a friendly widow. After sailing around for a while ge makes a bit of money in trade,but then is captured and made into slave off the coast of Africa. Here he befriends a young man named Xury, with whom he escapes from captivity. Xury and Robinson both are travelers.

     Incidentally his ship is broken. And he reached on the unknown island. He is alone. He builds a three main structures, his initial shelter, his country home on the opposite side of the island and his guns and ammo fort in the woods. He spends his time planting corn, barely and rice. He learns to bread. He builds a furniture, weaves, baskets and makes pots. He learns many thing on this island.

            One day crusoe sees a foot print in the shore and he learns that he is actually not alone on this island. There are also cannibals. Crusoe struggles with question of wether or not be should take revenge on them.

            Eventually he meets with Friday, a native man whom he is able to rescue from the cannibals. Crusoe teaches Friday English and converts him into Christianity.  Robinson is master of Friday. Robinson saves him. Robinson meets him on friday that's why Robinson gives name him Friday. Friday becomes a slave of Robinson. Master slave relationship highlighted in the novel. Robinson teaches Friday. For Friday it is new experience. But he follows whatever his master said. Both's language is different and also culture is different. But Friday many things learns from Robinson. And Robinson also learns many things on this island. Robinson learns farming. He becomes the ruler of this island.

                Robinson likes a company of animals. He is happy with animals. When he is alone, stranger. At that time he feels loneliness. He needs a support. At that time he got a company of animals. Animals becomes a support for Robinson.

              Friday also likes a company of animals. When Robinson incidentally reached on this island at that time he is not able to find way of England. On this island he begins his new life. He makes a cave for protection. He got a company of animals and Friday. He got a support form them. Robinson becomes a life saviour of Friday. He saves Friday's life. Then Friday becomes a slave. Robinson is creative. He made many things. Whatever he needs he made.

              Friday and Crusoe also rescue a spaniard. Eventually, an English long boat full of sailors lands on the island. Crusoe learns that the man have mutinied against their captain. After Crusoe helps restore order to the ship, the men and captain pledge allegiance and agree to take him home. And then at the end of the novel Robinson return to the his home England with Friday.
             He does not want to leave this island. Because he is emotionally attached with this island. He learns many things on this island. This island gives many things to him. And also he becomes the king of this island. And also he becomes a master of Friday. And he becomes a creative person on this island. He made many things on this island. He earns money on this island. He meets Friday on this island. He becomes rich on this island. Whole story of Robinson describes in the novel.

Chimamanda

A Nigerian novelist, writer of short stories and non fiction. She has written the novels like, " purple Hibiscus", "Half of a Yellow sun" and "Americanah" . She has also written poems and essay.

 She also won "MacArthur she has written the novels 'purple Hibiscus ',  Half of a yellow sun', and ' Americanah', the short story collection 'The thing Around your Neck', and the book-length essay 'we should all be Feminist's.

Education

1 Studied medicine in Nsukka.
2 Studied Communication and Political science at Eastern Connecticut State University.
3 Received a master's degree in creative writing from John Hopkins University.
4 Studied African history at Yale University.

Her novels are :

Purple Hibiscus (2003), Half of a yellow sun (2006), Americanah (2013)

Shorts stories :

The Thing around your neck

Book length essay :

We should all be Feminist(2014)

She is also an excellent speaker. Listening her is an amazing experience. There are her three most popular talks.

1) The Danger of a single story

2) We should all be feminist

3) Talk on importance of truth in post truth Era.

she has written the novels 'purple Hibiscus', 'Half of a Yellow Sun', and 'Americanah', the short story collection 'The thing Around your Neck' and the book-length essay 'We should all be Feminist'.

1) Talk on importance of Story / Literature:

Ngozi Adichie is very good speaker. In the first video she talk about her family, her childhood writing, her view about the literature and also she talked about the danger of reading single story  about any place, country and people that you can not judge anyone without any kind of authentication.

In this talk, she said that she read and write only about British story and white character with Blue eyes. So, I have questions that her father and mother had good job when she was young.

So, why she did not read African literature or Story by African writer, there were no any colony in her childhood, was her mind colonized? Or talked only to get sympathy from audience side who are white skin people's?


2) we should all be Feminist's:


Second video about the feminism . A very interesting talk on feminism that how society norms discriminate women from men. She gave many example of her life in which her primary incident about the class monitor was interesting.

She talked  generally same thought that feminist used to talk  but I like most her thought that Culture not make people but people make culture, so we should change our ideology that we internalised.

As a man we should respect women, there are many natural different between men and women in body organs but women have equal ability same as men.

We make happier world in which men and women both are equal, we must raise our daughter and son in similar way. So, this about feminism is worth to listen.

3) Talk on important ancestors of Truth in post - Truth Era:

In the third video about truth in post-Truth era, she beautiful ly said about the courage of speaking truth. Get thought is to be loyal with ourselves to tell the truth.

Post truth is very dangerous weapon in this 21 at century, especially political parties make use of this kind of weapons to  provocateur riots and also Media used for profit and to raise their TRAP.

 So she tries to say that do not driven as sheeple with the political language, try to understand the truth with authentication and. Always doubt in such a things.

William WordsWorth

Hello Reader,

• William Wordsworth (7 April 1770 - 23 April 1850) was a major English romantic poet who, with Samuel Taylor Coleridge, helped to launch the romantic age in English literature with their joint publication lyrical ballads (1798) .  

• theyear 1793 saw the first publication of poems by Wordsworth, in the collections an evening walk and descriptive sketches. in 1795 he received a legacy of 900 pounds from Raisley calvert and became able to pursue a career as a poet. 

•  He preface to the Lyrical Ballads is an easy which was written by William Wordsworth. In which he discussed about what is poet rather than who is poet? And he also discussed about poetic diction, language of poem.

• William Wordsworth was a major English Romantic poet who, with Samuel Taylor Coleridge, helped to lauch the Romantic Age in English literature with their joint publication Lyrical Ballads.

• The preface to the Lyrical Ballads in an essay, composed by William Wordsworth , for second edition of poetry collection Lyrical Ballads. And then greatly expanded in the third edition of 1802 . It has come to be seen as a defacto manifesto of the Romantic movement.

• 1) what is the basic difference between the poetic creed of 'classicism' and 'Romanticism'?

• Ans . There are two ideologies. We can say that, 'Romanticism' is feel they are free to express in simple manner. It means, it is not necessary to follow classical rules of writing. 

• 'Classicism' and 'Romanticism' are artistic movements that have influenced the literature, visual arts, music and architecture of the western world over many countries. In romantism is celebrates all strong emotions, not just feeling of love. 'Classicism' followed rules whereas 'Romanticism' were free from rules.

• There are two ideologies. We can say 'Romanticism' is feel they are free to express in simple manner. It means, it is not necessary to follow classical rules of writing. 'Classicism' and 'Romanticism' are artistic movement that have influenced the literature, visual arts, music and architecture of the western world  over many countries.

•  In romantism is celebrates all strong emotions, not just feeling of love. 'Classicism' followed rules where as 'Romanticism' were free from rules. Differences between classicism and romanticism is that classicism put out restrictions, whereas romanticism believes in liberty. 

• classicism presents urban life, whereas romanticism presents rural life. classicism believe on subjectivity and romanticism believes in objectivity. classicism is about intellectual and romanticism is about imagination. 

• in classicism aesthetic attitude and principals manifested in the art architecture and literature if ancient Greece and Rome and characterized by emphasis on form simplicity proportion and restraint. romanticism was an artistic literary musical and intellectual movement that originated in Europe towards the end of 18th century

• 2) why does Wordsworth say what is poet? Rather who is poet?

• Ans. Every human passes through the good and bad experience, but everyone cannot express it in form of poetry. A poet connects to readers with his emotions as well as his imagination. He builds up a just and lively image of an experience. Rather than who is he, what he is matters. This what makes him difference from the others.

• 3) what is poetic diction ? Which sort of poetic diction is suggested by Wordsworth in his preface?

• Ans. Poetic diction means selection of words. Words worth gave rustic colors to the poetic diction . And also there is new trend of writing poetry and there is new thing about 'Romanticism' poet bring in their poetry . Words worth talk about the language which is used in poems. He says that the language 'really used by man's but it should be a selection of a language s.

•  4) what is poetry?

• Ans. Poetry is a kind of medium to teach the people morality with delight poetry is a breathe and finer spirit of all knowlege. According to Wordsworth , " poetry is the spontaneous overflow of powerful feeling;  it takes it origin from emotions recollected in tranquility."

• 5) Discuss ' Daffodils' - I wandered lonely as a cloud' with reference to Wordsworth's poetic creed.

• Ans. "Daffodils " is one of the best poem of Wordsworth. The poem is written in four stanzas and first three stanza written in past tense and last one is written in presenttensen.We can find the tranquility of recollection is happens and last stanza line, then my heart with pleasure fills and dance with the daffodils. 

• As per Definition of Wordsworth " poetry is the spontaneous overflow of powerful feeling; it takes origin from emotion recollect in tranquility. So we can say that daffodils is best example of Wordsworth's poetic Creed.Wordsworth'ss definition of poetry "poetry is a spontaneous overflow of a powerful feeling, recollected in tranquility".

• many times, we capture beauty of nature by our eyes, but we cannot recollect and express that delight in tranquility. Wordsworth does this amazingly. he enjoys the nature and represents it beautifully. we can say nature is at its best in this poetry. delight of a particular moment and it's memory are represented all together.

Thank you for watching or reading...

Jonh Dryden

Hello Reader,

• 1) Do you any difference between Aristotle's definition of Tragedy and Dryden’s definition of play?

• Answer) I find difference between Aristotle's definition of tragedy and Dryden’s definition of the play .

         Aristotle's definition :-

•     " Tragedy , then, is an imitation of an action that is serious, complete, and of a certain magnitude; in language embellished with each kind of artistic ornament, the several kinds being found in separate parts of the play ; in the form of action, not of narrative; through pity and fear effecting the proper purgation of these emotions . "

    Dryden’s definition :-

•   " A play ought to be a just and lively image of human nature, representing its passions and humours and the changes of the fortune to which it is subject , for the delight and instruction of mankind .

•              Aristotle's definition of tragedy has three parts . First is lovely image of human nature , second is it represents passions and humour and changes of future. And third is its purpose which gives delight and instructions to mankind . Aristotle's tragedy ends with Catharsis whereas Dryden’s play ends with delight and instruction . I can see other difference between Aristotle's and Dryden’s definition that tragedy has sadness end whereas play has pleasure and delightness end. Tragedy creates seriousness whereas play represents humour.  

     About his essay 'An Essay on Dramatic poesy'

• Criticism flourished in England during the restoration of Stuart's. An Essay of Dramatic poesy' deals with the views of major critics and the tastes of men and women of the time of Dryden. The work is in the form of semi-drama thus making abstract theories interesting. In the last 17th century, Shakespeare was severely critised for his careless attitude towards the mixing of genres. It was Dryden who elevated Shakespeare to height for his natural genius.

     About Dryden

• Jonh Dryden was an English poet, literary critic, translator, and playwright who was made England's first poet Laureate in 1668. He is seen as dominating the literary life of Restoration England to such a point that the period came to be known in literary circles as the age of Dryden.

• 2) If you are supposed to give your personal prediection, whould you be on the side of the ancient and the modern ? Please give reasons.

•   According to me both are equal valuable in literature. Because ancient is better in observation of nature and now a days modern is getting from new ideas and new way in literature. So I can't take side of any one . So I preferred both. 

• 3) Do you think the arguments presented in favour of the French plays and against English plays are appropriate ? ( Say for example, Death should not be performed as it is neither just not 'liely' image, displaying duel fight with blunted swords, thousands of soldiers marching represented as five on stage, mingling of mirth and serious, multiple plots etc. )

• Answer) French playwright follow the Ancient and favour the unity of time and observe it very carefully. In terms of unity of place they are equally sincere. In most of their plays, the entire action is limited to one place. And unity of action is even more obvious ; plays are never congested with sub plots as is the case with English plays. In English plays the character relates to life and therefore, it is proper and reasonable that it should be also in the drama, but in French plays such narrations are more skilled than the Ancients. Dryden portrays the comparative merits and demerits of each in a clearer way. In this essay, as Neander, Dryden favours the violation of those three unities because it leads to the variety in the English plays and these unities have a narrowing and crumpling effects on the French plays, which are often betrayed into absurdities from which the English plays are free. The violation of unities helps the English playwright to present a livelier image of  human nature. In his comparison of English and French drama, Neander characterizes the best proofs of the Elizabethan playwrights.

•  4) what would be hour preference so far as poetic or prosaic dialogue are concerned in the play?

• I prefer poetic dialogue than prosaic in play. Poetic may be rhyme verse of Blank verse also. Poetic dialogue are help for judgment. Rhyme effects on emotions and feelings. Interpretation of poemcan be different. People can read poem with different points of view and different style. Blank verse is poetic prose and it is only fit for comedy. It means we find poetic prose in comedy and use of poetic language audience must get entertainment.

•  Than you for watching or reading.

Mario Vargas Llosa

Hello Reader,

• Mario Vargas Llosa was born into a middle-class family in Arequipa, Peru. His parents divorced when he was young, and he grew up with his mother and maternal grandparents in Bolivia, where his grandfather worked as a consular officer.

•  Mario Vargas Llosa developed an interest in poetry at an early age, which was a source of worry for his father, who enrolled him in a military academy. Nevertheless, he followed his literary instincts and became a writer. 

• He was also politically active and ran as a candidate in the Peruvian presidential election of 1990. Nowadays he spends most of his time in Madrid, but also lives in Peru. He has three children.

• Here in this blog i am sharing the point which i like form his interview for the worldpost by Michael Skafidas , a journalist and professor of comparative literature at City University of New York. He is a Peruvian writer, politician , journalist, essayist & college professor. 

• Vargas Llosa is one of Latin America's most significant novelist & essayist & one of the leading writer of his generation. He was awarded Novel prize for literature in 2010. His most recent Novel is " The Neighborhood".

•  In 2010 he won the Nobel prize in literature, "for his cartography of structures of power and his trenchant images of the individuals resistance, revolt and defeat. And also won awards in 1994 for miguel de Cervantes prize.

• I agree with this point because As most of us consider literature as mirror of society them how can we expect that whatever is literature is must be idealist.

• Angles and Devils both are important for literature. Because Angels and Devils are the part of religion and literature. One is gives fear and one is gives protection to people. For religion both are equally.

•  But in literature Devils are more important than Angles according to me. Because in most of work we seen Devils are important. And they plays a lead role in work. In many work Devils are center. It creates suspense and horror in the story.

•  In the 1960s, Latin American literature experienced rapid development that has come to be called "El Boom". Peruvian author Mario Vargas Llosa was at the heart of this explosion. His extensive, rich authorship consists mostly of novels, but also of plays, essays, literary criticisms, and journalism. 

• His works reflect his ardent love of storytelling. They are characterized by rich language and cover a range of genres - from autobiographical books and historical novels to erotic fiction and thrillers.

1)   "If you respect literature you must accept not only the very idealist, altruist vision of human beings but also the infernal vision of them."

2)  Georges Bataille said that in human beings, there are angels and devils. Sometimes the angels are important, but for literature, devils are important too.Literature is a testimony of what we want to hide in the real word.

3)  Sartre’s ideas — that words are acts and that you write things that could make a difference in history or solve problems.

4)  words are the main tools through we can create the history or make a difference in history or we can solve the problems. Writing is a main idea through which we can create a different kind of society, which is more freer, more liberal. Those were very influential ideas for a young writer.

5)  history and literature both are very closely from each other, they are different faces of a coin. The literary version of a historical part prevails over a historian's account. Literature is also close to living experiences.

Thank you for watching or reading....

Lagaan

Hello Reader,

•  The movie also paid a strong message about Equality of castes,  an issue that continues to plague Indian. It is great to watch postcolonial people talking pride in their culture and history even if it means playing up stereo types and formulaic plot lines .

• We can see that how cricket, the once proud cultural form of Colonial Britain , is subverted in such a way that it becomes a tool for decolonisation .Decolonisation is a dialogue with the colonial past, and not a simple dismantling of the colonial habits and modes of life.

•   Lagaan is a massive film and it is realm of British colonialism - Indian nationalism and Postcolonial discourse. Lagaan is an intellectual interests in colonial British Indian and subsequently Postcolonialism .

• Lagaan in 2001 India epic sports drama film, directed by Ashutosh Gowariker, produced by Amir khan and Manoor khan, and written by Gowariker and Abbas Tyree alarm.

• Amir khan stars along with debutant Gravy Singh, with  British actors Rachel Shelley and Paul Blackthorne playing supporting roles. The film was shot in an ancient village near Bhuj, India.

• This is the story about the resilience shown by the Indians when they were under the British Rule. They are already taxed to the bone by the British and their cronies, but when Jack Russell announces that he will double the Lagaan (tax) from all villagers, they decide to oppose it.

•  Leading the villagers is a handsome young man named Bhuvan, who challenges them to a game of cricket, a game that is to be played by veteran British cricket players, versus villagers, including Bhuvan himself, who have never played this game before, and do not even know a bat from a piece of wood. 

• As the challenge is accepted, the interest grows and attracts Indians from all over the region, as well as the British from all over the country - as everyone gathers to see the 'fair play' that the British will display against their counter-parts, who are aided by none other than the sister, Elizabeth, of Captain Rusell.

Thank you for watching or reading....

Paradise lose

 My sir give task here In this blog I am trying to give answer.

                 

Jonh miton:-

Introduction:-

Paradise Lost is written by Jonh Milton. Paradise Lost is written in 12 books. We studied book no 9. Book no 9 is climax of paradise Lost . In this Book tone is changed.

This poem based on the biblical story of the fall of man. In paradise lost we find something different than Biblical story. Many scholars consider paradise Lost to be one of the greatest poems in the English language. paradise Lost  , Epic poem in blank verse, one of the late works by Jonh Milton.

Q-1 write a critical note on character of Eve
.

         We find vast difference between character of Eve in Bible and in Milton's Eve. She is created from Adam’s rib as his helpmeet.she is beautiful, wise, and able.She deserves all praise for her beauty and she is the beloved wife of Adam. Eve is the second creation by God . 

Not the traditional model of good wife, Milton's Eve is often unwilling to be submissive towards Adam. she is smart and curious about external ideas than her husband. She loves Adam. She is tempted by satan to sin against God by eating of the tree of knowledge. 

Soon Adam follows Eve in support of her act. Eve make a logical suggestion in Book -9 that if she and Adam separated for a time, they would not be distracted by each other and would be able to get more work done.

Q-2 whose argument didi you find more convincing?

In this book Eve gives logical arguments. She gives her point of view very well.

“Bht if this tree we may not taste nor touch, God so commanded, and left that command sole daughter of his voice: the rest, we live law to ourselves; our reason is our law"?

Sometimes she becomes selfish. When satan gives information about the tree of knowledge and their benefits she becomes selfish and she wants become knowledge without Adam. And she eats fruit. Then she realizes her mistake and she thought about God's punishment. And she is frightened. And she tells Adam about her mistake and then she also convince Adam to eat that fruit. But Adam argument.

"This tree is not, as we are told, a tree if danger tasted, not to evil unknown opening the way, but if devine effect to open eyes, and make them Gods Who taste; And hath been tasted such."

At last Adam truly loves Eve and he also eat that fruit of knowledge. Without any fear of God's punishment he eats fruit. He eat fruit for Eve. He does not care about punishment. For Adam Eve is more important than punishment. He is ready to sacrifices his life for Eve. So Eve is selfish but Adam is altruistic. Eve is so beautiful that satan also forgets his revenge for sometimes. 

 eve proposes to divide in several places,
each laboring apart second argument to Satan that after you eat the fruit your legs are where? 

First argue Eve with Adam :-

“ she gave him of that fair enticing fruit
With liberal hand. He scrupled not to eat,
Against his better knowledge not deceived.”

“ That what she wills to do or say,
Seems wisest, virtuosest, discreetest, best;”

Satan with Eve:-

"Let us not then suspect our happy state Left so imperfet by the maker wise as not secure to single or combined. Frail is our happiness if this be so."

this is convincing argue by Eve to Satan but after all argument she eat that fruit.

Q-3 How do you look at divine perspective in geresis of the Bible and Human perspective In Jonh Miton's Paradise Lose book 9.

There is a difference between Holy Bible and Jonh Milton's paradise Lost. In Holy Bible God is centre. And In Jonh Milton's Paradise Lost Book Ix Human beings are the centre. In Holy Bible Human beings becomes puppet. Bible give more importantance to God. In Bible God is lively character.God's perspective . 

The character of Eve, Adam and Satan are flat and emotionless . Many questions remain unanswered in God's justice. In Milton's Paradise Lost , we find the same story told from Human perspective . 

In Milton's paradise lost book 9 we find the same story told from Human perspective.We find Eve eat the fruit was to gain  Knowledge to know good and evil. To giving intention is in favor of human rather than God. Secondlywe find Adam has also reason of doing that.

Thank you for watching or reading...

Coloridge's Biograp

Name :- Rayjada Mitalba jaydipsinh

Pg.Reg.No :- 206910842019008

Roll No :- 27

Papar No :- 4

Topic:- coloridge's Biographies literary.

Sem:- 1

Year :- 2018 - 2020

Submitted to Smt S.B.Gardi Department Of English.

Maharaja krushnkumarji Bhavnagar University.

Q.1 Coleridge Biographies literary.

•              Motives to the present work Reception of the Author's first publication—Discipline of his taste at school Effect of contemporary writers on youthful minds—Bowles's Sonnets—Comparison between the poets before and since Pope.

•                It was been my lot to have had my name introduced both in conversation, and in print, more frequently than I find it easy to explain, whether I consider the fewness, unimportance, and limited circulation of my writings, or the retirement and distance, in which I have lived, both from the literary and political world.

•  Most often it has been connected with some charge which I could not acknowledge, or some principle which I had never entertained. Nevertheless, had I had no other motive or incitement, the reader would not have been troubled with this exculpation. What my additional purposes were, will be seen in the following pages. It will be found, that the least of what I have written concerns myself personally. 

• I have used the narration chiefly for the purpose of giving a continuity to the work, in part for the sake of the miscellaneous reflections suggested to me by particular events, but still more as introductory to a statement of my principles in Politics, Religion, and Philosophy, and an application of the rules, deduced from philosophical principles, to poetry and criticism. 

• But of the objects, which I proposed to myself, it was not the least important to effect, as far as possible, a settlement of the long continued controversy concerning the true nature of poetic diction; and at the same time to define with the utmost impartiality the real poetic character of the poet, by whose writings this controversy was first kindled, and has been since fuelled and fanned.

•            In the spring of 1796, when I was but little passed the verge of manhood, I published a small volume of juvenile poems. They were received with a degree of favour, which, young as I was, I well know was bestowed on them not so much for any positive merit, as because they were considered buds of hope, and promises of better works to come. 

• The critics of that day, the most flattering, equally with the severest, concurred in objecting to them obscurity, a general turgidness of diction, and a profusion of new coined double epithets [1]. The first is the fault which a writer is the least able to detect in his own compositions: and my mind was not then sufficiently disciplined to receive the authority of others, as a substitute for my own conviction. Satisfied that the thoughts, such as they were, could not have been expressed otherwise, or at least more perspicuously, I forgot to inquire, whether the thoughts themselves did not demand a degree of attention unsuitable to the nature and objects of poetry.

•  This remark however applies chiefly, though not exclusively, to the Religious Musings. The remainder of the charge I admitted to its full extent, and not without sincere acknowledgments both to my private and public censors for their friendly admonitions. In the after editions, I pruned the double epithets with no sparing hand, and used my best efforts to tame the swell and glitter both of thought and diction; though in truth, these parasite plants of youthful poetry had insinuated themselves into my longer poems with such intricacy of union, that I was often obliged to omit disentangling the weed, from the fear of snapping the flower.

•  From that period to the date of the present work I have published nothing, with my name, which could by any possibility have come before the board of anonymous criticism. Even the three or four poems, printed with the works of a friend [2], as far as they were censured at all, were charged with the same or similar defects, (though I am persuaded not with equal justice),—with an excess of ornament, in addition to strained and elaborate diction. 

• I must be permitted to add, that, even at the early period of my juvenile poems, I saw and admitted the superiority of an austerer and more natural style, with an insight not less clear, than I at present possess. My judgment was stronger than were my powers of realizing its dictates; and the faults of my language, though indeed partly owing to a wrong choice of subjects, and the desire of giving a poetic colouring to abstract and metaphysical truths, in which a new world then seemed to open upon me, did yet, in part likewise, originate in unfeigned diffidence of my own comparative talent.—

• During several years of my youth and early manhood, I reverenced those who had re-introduced the manly simplicity of the Greek, and of our own elder poets, with such enthusiasm as made the hope seem presumptuous of writing successfully in the same style. Perhaps a similar process has happened to others; but my earliest poems were marked by an ease and simplicity, which I have studied, perhaps with inferior success, to impress on my later compositions.

•         At school, (Christ's Hospital,) I enjoyed the inestimable advantage of a very sensible, though at the same time, a very severe master, the Reverend James Bowyer. He early moulded my taste to the preference of Demosthenes to Cicero, of Homer and Theocritus to Virgil, and again of Virgil to Ovid. 

• He habituated me to compare Lucretius, (in such extracts as I then read,) Terence, and above all the chaster poems of Catullus, not only with the Roman poets of the, so called, silver and brazen ages; but with even those of the Augustan aera: and on grounds of plain sense and universal logic to see and assert the superiority of the former in the truth and nativeness both of their thoughts and diction. 

• At the same time that we were studying the Greek tragic poets, he made us read Shakespeare and Milton as lessons: and they were the lessons too, which required most time and trouble to bring up, so as to escape his censure. I learned from him, that poetry, even that of the loftiest and, seemingly, that of the wildest odes, had a logic of its own, as severe as that of science; and more difficult, because more subtle, more complex, and dependent on more, and more fugitive causes. 

• In the truly great poets, he would say, there is a reason assignable, not only for every word, but for the position of every word; and I well remember that, availing himself of the synonymes to the Homer of Didymus, he made us attempt to show, with regard to each, why it would not have answered the same purpose; and wherein consisted the peculiar fitness of the word in the original text.

•      In our own English compositions, (at least for the last three years of our school education,) he showed no mercy to phrase, metaphor, or image, unsupported by a sound sense, or where the same sense might have been conveyed with equal force and dignity in plainer words [3]. Lute, harp, and lyre, Muse, Muses, and inspirations, Pegasus, Parnassus, and Hippocrene were all an abomination to him. In fancy I can almost hear him now, exclaiming "Harp? Harp? Lyre? Pen and ink, boy, you mean! Muse, boy, Muse? Your nurse's daughter, you mean! Pierian spring? Oh aye! the cloister-pump, I suppose!" Nay certain introductions, similes, and examples, were placed by name on a list of interdiction. 

• Among the similes, there was, I remember, that of the manchineel fruit, as suiting equally well with too many subjects; in which however it yielded the palm at once to the example of Alexander and Clytus, which was equally good and apt, whatever might be the theme. Was it ambition? Alexander and Clytus!—Flattery? Alexander and Clytus!—anger—drunkenness—pride—friendship—ingratitude—late repentance? Still, still Alexander and Clytus! At length, the praises of agriculture having been exemplified in the sagacious observation that, had Alexander been holding the plough, he would not have run his friend Clytus through with a spear, this tried, and serviceable old friend was banished by public edict in saecula saeculorum.

•  I have sometimes ventured to think, that a list of this kind, or an index expurgatorius of certain well-known and ever-returning phrases, both introductory, and transitional, including a large assortment of modest egoisms, and flattering illeisms, and the like, might be hung up in our Law-courts, and both Houses of Parliament, with great advantage to the public, as an important saving of national time, an incalculable relief to his Majesty's ministers, but above all, as insuring the thanks of country attornies, and their clients, who have private bills to carry through the House.

•      Be this as it may, there was one custom of our master's, which I cannot pass over in silence, because I think it imitable and worthy of imitation. He would often permit our exercises, under some pretext of want of time, to accumulate, till each lad had four or five to be looked over. 

• Then placing the whole number abreast on his desk, he would ask the writer, why this or that sentence might not have found as appropriate a place under this or that other thesis: and if no satisfying answer could be returned, and two faults of the same kind were found in one exercise, the irrevocable verdict followed, the exercise was torn up, and another on the same subject to be produced, in addition to the tasks of the day. 

• The reader will, I trust, excuse this tribute of recollection to a man, whose severities, even now, not seldom furnish the dreams, by which the blind fancy would fain interpret to the mind the painful sensations of distempered sleep; but neither lessen nor dim the deep sense of my moral and intellectual obligations. 

• He sent us to the University excellent Latin and Greek scholars, and tolerable Hebraists. Yet our classical knowledge was the least of the good gifts, which we derived from his zealous and conscientious tutorage. He is now gone to his final reward, full of years, and full of honours, even of those honours, which were dearest to his heart, as gratefully bestowed by that school, and still binding him to the interests of that school, in which he had been himself educated, and to which during his whole life he was a dedicated thing.

•      From causes, which this is not the place to investigate, no models of past times, however perfect, can have the same vivid effect on the youthful mind, as the productions of contemporary genius. The discipline, my mind had undergone, Ne falleretur rotundo sono et versuum cursu, cincinnis, et floribus; sed ut inspiceret quidnam subesset, quae, sedes, quod firmamentum, quis fundus verbis; an figures essent mera ornatura et orationis fucus; vel sanguinis e materiae ipsius corde effluentis rubor quidam nativus et incalescentia genuina;—removed all obstacles to the appreciation of excellence in style without diminishing my delight. 

• That I was thus prepared for the perusal of Mr. Bowles's sonnets and earlier poems, at once increased their influence, and my enthusiasm. The great works of past ages seem to a young man things of another race, in respect to which his faculties must remain passive and submiss, even as to the stars and mountains. 

• But the writings of a contemporary, perhaps not many years older than himself, surrounded by the same circumstances, and disciplined by the same manners, possess a reality for him, and inspire an actual friendship as of a man for a man. His very admiration is the wind which fans and feeds his hope. The poems themselves assume the properties of flesh and blood. To recite, to extol, to contend for them is but the payment of a debt due to one, who exists to receive it.

• There are indeed modes of teaching which have produced, and are producing, youths of a very different stamp; modes of teaching, in comparison with which we have been called on to despise our great public schools, and universities, in whose halls are hung

•     Armoury of the invincible knights of old—
• modes, by which children are to be metamorphosed into prodigies. And prodigies with a vengeance was I known thus produced; prodigies of self-conceit, shallowness, arrogance, and infidelity! Instead of storing the memory, during the period when the memory is the predominant faculty, with facts for the after exercise of the judgment; and instead of awakening by the noblest models the fond and unmixed love and admiration, which is the natural and graceful temper of early youth; these nurslings of improved pedagogy are taught to dispute and decide; to suspect all but their own and their lecturer's wisdom; and to hold nothing sacred from their contempt, but their own contemptible arrogance; boy-graduates in all the technicals, and in all the dirty passions and impudence of anonymous criticism.

•  To such dispositions alone can the admonition of Pliny be requisite, Neque enim debet operibus ejus obesse, quod vivit. An si inter eos, quos nunquam vidimus, floruisset, non solum libros ejus, verum etiam imagines conquireremus, ejusdem nunc honor prasentis, et gratia quasi satietate languescet? At hoc pravum, malignumque est, non admirari hominem admiratione dignissimum, quia videre, complecti, nec laudare tantum, verum etiam amare contingit.

• I had just entered on my seventeenth year, when the sonnets of Mr. Bowles, twenty in number, and just then published in a quarto pamphlet, were first made known and presented to me, by a schoolfellow who had quitted us for the University, and who, during the whole time that he was in our first form (or in our school language a Grecian,) had been my patron and protector. 

• I refer to Dr. Middleton, the truly learned, and every way excellent Bishop of Calcuttqui laudibus ampli  Ingenium celebrare meum, calamumque solebat  Calcar agens animo validum. Non omnia terra Obruta; vivit amor, vivit dolor; ora negatur Dulcia conspicere; at fiere et meminisse relictum est.

•          It was a double pleasure to me, and still remains a tender recollection, that I should have received from a friend so revered the first knowledge of a poet, by whose works, year after year, I was so enthusiastically delighted and inspired. My earliest acquaintances will not have forgotten the undisciplined eagerness and impetuous zeal, with which I laboured to make proselytes, not only of my companions, but of all with whom I conversed, of whatever rank, and in whatever place.

•  As my school finances did not permit me to purchase copies, I made, within less than a year and a half, more than forty transcriptions, as the best presents I could offer to those, who had in any way won my regard. And with almost equal delight did I receive the three or four following publications of the same author.

•        I have seen and known enough of mankind to be well aware, that I shall perhaps stand alone in my creed, and that it will be well, if I subject myself to no worse charge than that of singularity; I am not therefore deterred from avowing, that I regard, and ever have regarded the obligations of intellect among the most sacred of the claims of gratitude.

•  A valuable thought, or a particular train of thoughts, gives me additional pleasure, when I can safely refer and attribute it to the conversation or correspondence of another. My obligations to Mr. Bowles were indeed important, and for radical good. At a very premature age, even before my fifteenth year, I had bewildered myself in metaphysics, and in theological controversy. Nothing else pleased me. 

• History, and particular facts, lost all interest in my mind. Poetry—(though for a school-boy of that age, I was above par in English versification, and had already produced two or three compositions which, I may venture to say, without reference to my age, were somewhat above mediocrity, and which had gained me more credit than the sound, good sense of my old master was at all pleased with,)—poetry itself, yea, novels and romances, became insipid to me. 

• In my friendless wanderings on our leave-days [4], (for I was an orphan, and had scarcely any connections in London,) highly was I delighted, if any passenger, especially if he were dressed in black, would enter into conversation with me. For I soon found the means of directing it to my favourite subjects.

Thank you for watching or reading...