PREFACE
My proposed topic of research is : "Creative Approaches to the Characters of the Mahabharata by Madhusudan, Bankim Chandra and Nabin Chandra : A Critical Study". Although some partial and segmented discussions were held earlier, no exhaustive dissertation has yet been done on this topic. Besides, this topic is worth studying from the perspective of research, and hence I have selected this subject.
The topic has been classified in three chapters which are as follows :
CHAPTER : I
CREATIVE APPROACHES TO THE CHARACTERS OF THE MAHABHARATA BY MADHUSUDAN
a) Principal characters from the Mahabharata as portrayed by Madhusudan.
b) Secondary characters from the Mahabharata as portrayed by Madhusudan.
CHAPTER : II
CREATIVE APPROACHES TO THE CHARACTERS OF THE MAHABHARATA BY BANKIM CHANDRA
a) Principal characters from the Mahabharata as portrayed by Bankim Chandra.
b) Secondary characters from the Mahabharata as portrayed by Bankim Chandra.
CHAPTER : III
CREATIVE APPROACHES TO THE CHARACTERS OF THE MAHABHARATA BY NABINCHANDRA
a) Principal characters from the Mahabharata as portrayed by Nabinchandra.
b) Secondary characters from the Mahabharata as portrayed by Nabinchandra.
I would like to furnish herewith the contextual points in order to substantiate any distinctive observations as well as those of my
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The poem describes the extremely deteriorating condition of Duryodhana when he was taken out of the camp. When Kripacharya was about to lay a cloth on the ground, Duryodhana forbade him from doing so, and preferred rather to sit on that bare earth that had held him when he had come out of his mother's womb. Duryodhana humbly added that he would not be able to sit on the covered ground since the great warriors like Karna, Dronacharya, Bhishma etc. were lying on that bare ground in the eternal
There are many cultural aspects of the poem. In the poem, “the secrets of your dreaming” refers to the Aboriginal belief called the Dreamtime. The three lines, “while waters of tears carry ancient stories down your jagged crevasses”. In these lines, “Ancient stories” and “down your jagged crevasses” refers to the Aboriginals rituals of ancestral spirits that take place near cracks in the stone walls of Uluru, such as crevasses. The first line in the poem, “Isolated rock” refers
First of alll, the poem is divided into nine stanzas, where each one has four lines. In addition to that, one can spot a few enjambements for instance (l.9-10). This stylistic device has the function to support the flow of the poem. Furthermore, it is crucial to take a look at the choice of words, when analysing the language.
Narayan, R. K., and Kampar. (2006). The Ramayana: A Shortened Modern Prose Version Of The Indian Epic (suggested by the Tamil version of Kamban). New York: Penguin Books. PDF e-book.
It is apparent that both authors provide insights into aiding the reader in making a conclusive determination, however, as mentioned; the reader may be misled by the author’s personal perceptive. Although much factual “doctrines” are exclusively used to provide a certain perceptive, both authors give their account as best as possible, however, neither side can conclusively claim their perceptive as ligament claims.
(3) Adam, Elga (2007) “Reflection and Disagreement” Princeton University Copyright the Authors Journal compilation, Blackwell Publishing, Inc. Pg. 478 – 502.
was not solely at fault. The purpose of this paper is to analyze some of these tidbits of
At the beginning of the poem, the speaker starts by telling the reader the place, time and activity he is doing, stating that he saw something that he will always remember. His description of his view is explained through simile for example “Ripe apples were caught like red fish in the nets of their branches” (Updike), captivating the reader’s attention
Overview: Mahabharata." Epics for Students. Ed. Sara Constantakis. 2nd ed. Vol. 1. Detroit: Gale, 2011. Literature Resource Center. Web. 7 Apr. 2014.
Ideas swarm around us everyday. They run through our heads and at times they alter our thoughts, believes, and perception. The question is, what ideas, events, or words affect us so that we do the things we do and say the things we say. If we understand the causes and know the effects, we have yet to fully understand the “chain.” In essence, the real question is not “what” ideas, events, or words affected the person but rather “why” it affected them. To understand the why, we must first understand the initial cause and effect.
I decided to write on this subject since I was taught this topic in earlier classes and learned from that textbook some of the information that I pulled from my reference materials. I was familiar with this topic and had some earlier notions and wanted to see if my views and understanding changed with a broader knowledge base. At the time I studied this previously I found it to be an interesting and complex subject.
thereby attempts in the Appendix to argue on the following crucial points: 1) The reason
The poet mourns the death of his loved one and wants the world to grieve with him. His wants his subjective to be objective. The first stanza links everything to noise. He wants to 'silence the piano ' for example, showing how he wants no more noise in the world. Throughout the poem, there are many imperatives. This relates back to Remember, where the poems title is included in the imperatives. The third stanza has no imperatives at all, and many antonyms. This is the poets way of saying they meant everything to him. The second stanza uses 'scribbling ' to personify a plane. The use of personification in the poem links back to Do not go gentle into that good night. The first stanza contains references to things that can be easily done like 'stop all the clocks '. The second has things that are theoretically possible but a bit harder to do. The poem seems to get less and less realistic as it goes on. The final line, 'For nothing now can ever come to any good ', is quite bleak, showing how the death of his partner has affected the poet. It gives him no good feelings
The tone in the first 11 stanzas of the poem seems very resigned; the speaker has accepted that the world is moving on without them. They says things like “I don’t reproach the spring for starting up again” and “I don’t resent the view for its vista of a sun-dazzled bay”. By using words like “resent” and “reproach”, the author indirectly implies that the speaker has a reason to dislike beautiful things. The grief that has affected the speaker so much hasn’t affected life itself and they has come to accept that. The author chooses to use phrases like ‘it doesn’t pain me to see” and “I respect their right” which show how the speaker has completely detached themself from the word around them. While everything outside is starting to come back to life, the speaker is anything but lively. “I expect nothing from the depths near the woods.” They don’t expect anything from the world and want the world to do the same thing in return. This detachment proves that the speaker feels resigned about themself and the world around
Observations: Upon first glance, many literary elements popped out at me. To begin, it was obvious that, in typical Dickinson fashion, there were many dashes. These dashes are used to indicate an interruption or abrupt shift in thought and to add emphasis. More importantly, they are there to remind the reader to stop and take a longer pause to reflect back on what was trying to be said at that point within the poem. These dashes, from simply looking at the poem, also interrupt the rhythmic flow and help lend a hand in helping Dickinson create a unique form of diction. Alliteration is also a key element throughout this poem as there are many ‘s’, ‘w’, and ‘f’ sounds. For example, there is line within the poem that says, “When One died for Truth, was lain…” With this, there is a continuous “w” sound rolling off of the tongue. Assonance is also noticed throughout the poem in that Dickinson uses ‘oo’ sounds with the words beauty, tomb, who, truth, and room. In terms of rhyme and meter, the poem is set with a fixed rhyme pattern that took the form of ABCB. There are also many moments throughout the poem in which words are randomly capitalized. Although they look as if they were capitalized sporadically and without thought, these words were written this way to place emphasis upon the meaning of the words and the messages behind them. The structure of this poem (and most of Dickinson’s poems for that matter) is a closed or fixed form dealing with four line stanzas, or quatrains. Figures of speech used, just by observing the poem, were metaphors, personification, and metonymy. For example, this whole poem focuses on death and truth – two things that are ‘intangible’ objects without life to them. Yet, Dickinson portrays them in a way in wh...
Stories are a wonderful way to convey ideas while entertaining the reader. Literary masterpieces are one of the most important devices in practice that mirrors society. The complex topics from previous generations are still relevant today. Spiritual, intellectual, and political themes make the reader identify with the characters’ trials within the literary masterpieces. When the author uses characters, the reader can explore his or her own questions of society. A masterpiece is not used to answer questions, but to inspire the reader to delve into their own problems. Masterpieces are used to make the reader think and not just accept the popularly held beliefs. According to Santayana (1980), “Those who cannot remember the past are condemned to repeat it “ (p. 104). This statement holds true for literary masterpieces, as well.