Has the world ever seen a woman’s love to rival that of Du Liniang? Dreaming of a lover she fell sick; once sick she became ever worse; and finally, after painting her own portrait as a legacy to the world,… Read More ›
A question that can be asked of any century’s poetry is whether it owes its character to “forces”—nonliterary developments to which the poets respond more or less sensitively—or whether, on the other hand, the practice of innovative and influential poets… Read More ›
The poetry of the sixteenth century defies facile generalizations. Although the same can obviously be said for the poetry of other periods as well, this elusiveness of categorization is particularly characteristic of the sixteenth century. It is difficult to pinpoint… Read More ›
One of William Shakespeare’s (bapt. 26 April 1564 – 23 April 1616) great advantages as a writer was that, as a dramatist working in the public theater, he was afforded a degree of autonomy from the cultural dominance of the… Read More ›
Paradise Lost is a poetic rewriting of the book of Genesis. It tells the story of the fall of Satan and his compatriots, the creation of man, and, most significantly, of man’s act of disobedience and its consequences: paradise was… Read More ›
Join ONE YEAR Online Coaching for NTA UGC NET JRF English Conducted by Literariness.org BATCH 2 Coaching for December 2020 and June 2021 English NET Exam. Features 📌 No Time Constraints 📌 Printable materials in pdf 📌 Life-time access to the… Read More ›
No poet in memory has ever had quite so spectacular a debut as the young T. S. Eliot when his poem The Love Song of J. Alfred Prufrock was first published in Poetry magazine in 1915, thanks in large part… Read More ›
Nothing could have prepared either the literary world in general or the curious reader who had been following Eliot’s career to date for the publication, in late 1922, of The Waste Land. Published in October of that year in Eliot’s… Read More ›
America became a subject for literature after the Revolutionary War, when writers began the exploration of themes and motifs distinctly American. Continuing the Puritan belief in America as the New Eden, writers stressed the millennial nature of settlement and progress…. Read More ›
Eugene O’Neill has often been criticized for his choice of characters, for their aberrant psychologies, and for their emotionalism. Certainly he dealt with emotions, but he did so because he believed that emotions were a better guide than thoughts in… Read More ›
This is the most abridged notes on History of English Literature. To download the content in pdf click on the following link A Brief History of English Literature PDF CHAPTER 1 OLD ENGLISH LITERATURE The Old English language or Anglo-Saxon… Read More ›
“The test of a first-rate intelligence,” Fitzgerald remarked during the late 1930’s, “is the ability to hold two opposed ideas in the mind at the same time, and still retain the ability to function.” At his best—in The Great Gatsby,… Read More ›
Discourage Sphere- Sun Assume Despair Celestial At, in, to On first consideration Harmful Sacrifice Ignorant 35 cm 64 cm³ 57600 48.8% 2000 ddd 6% 3972 4 KGI Literarture Madhya Pradesh Lumbini Women in Science Naga Hills The Serpent and the… Read More ›
Le Cid is a powerful work, but it lacks what the clumsiest sixteenth-century tragedy had: a concentration on a single tragic meaning. We have instead, a play which (for the firsttime in French drama) successfully attains seriousness by means of… Read More ›
With Mrs. Behn we turn a very important corner on the road. We leave behind, shut up in their parks among their folios, those solitary great ladies who wrote without audience or criticism, for their own delight alone. We come… Read More ›
Seen in the context of Hauptmann’s work and of the contemporary literary situation, Die Weber was indeed a unique contribution. For its author it represented a first application of Naturalist theory and technique to documented, historical subject matter, and for… Read More ›
Tragedy presupposes guilt, despair, moderation, lucidity, vision, a sense of responsibility. In the Punch-and-Judy show of our century . . . there are no more guilty and also, no responsible men. It is always, “We couldn’t help it” and “We… Read More ›
The particular setting of The Dybbuk is the world of Hasidic pietism which grew out of one sage’s intense sense of the goodness and accessibility of God and out of his profound conviction, therefore, of the necessity for joy and… Read More ›
Lope is like ten brilliant minds inhabiting one body. An attempt to enclose him in any formula is like trying to make one pair of boots to fit a centipede. —Ezra Pound, The Spirit of Romance Any gathering of the… Read More ›
Gao Xingjian’s plays are characterized by originality, in no way diminished by the fact that he has been influenced both by modern Western and traditional Chinese currents. His greatness as a dramatist lies in the manner in which he has… Read More ›
The Berger family are on the verge of the middle class and as such are especially vulnerable. To deny the reality of the American dream is ostensibly to condemn themselves to permanent deprivation. The constant image is one of flight,… Read More ›
His plays are concerned with expressing his own feeling of helplessness and solitude when confronted with the despair and loneliness of man caught in the hall of mirrors of the human condition, inexorably trapped by an endless progression of images… Read More ›
Ibsen was in fact, in Hedda Gabler, consolidating the features of much of his early work—work of which the younger Strindberg was well aware. Hedda Gabler, too, is thematically centred in Ibsen’s major work, for, like so many others, Hedda… Read More ›
Nothing happens in Endgame and that nothing is what matters. The author’s feeling about nothing also matters, not because it is true or right but because it is a strongly formed attitude, a felt and expressed viewpoint. . . …. Read More ›
It is a sort of living death to be surrounded by the ceaseless concern for judgments and action that one does not even desire to change. In fact, since we are alive, I wanted to demonstrate, through the absurd, the… Read More ›
Personally I love it [The Iceman Cometh]! And I’m sure my affection is not wholly inspired by nostalgia for the dear dead days “on the bottom of the sea,” either. I have a confident hunch that this play, as drama,… Read More ›
Farce is tragedy played at about a hundred and twenty revolutions a minute. The story of Othello and the plot of Feydeau’s Puce à l’Oreille have a striking similarity. Desdemona’s lost handkerchief and Victor Emmanuel Chandebise’s missing braces both give… Read More ›
The Lower Depths . . . is a remarkable play for a relatively inexperienced dramatist. It entertained but confronted, challenged and divided the auditorium. The Moscow Arts Theatre and arguably Russian theater were never to be the same again. —Cynthia… Read More ›
I know The Heidi Chronicles was a controversial play among many feminists. It was a play where some people thought I had sold out, because she had a baby at the end and I was saying that all women must… Read More ›
It has been suggested that in The Hostage Brendan Behan is trying to “open up the stage.” This is an understatement. He would like to hack the stage to bits, crunch the proscenium across his knee, trample the scenery underfoot,… Read More ›
Like steam, life can be compressed into a narrow little container, but, also like steam, it will endure pressure only to a certain point. And in Three Sisters, this pressure is brought to the limit, beyond which it will explode—and… Read More ›