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Studies in the History of the Renaissance

Introduction

“Studies in the History of the Renaissance” consists of several essays exploring the cultural, artistic, and intellectual movements of the Renaissance Period. It was first published in 1873 by Walter Horatio Pater. He was an influential critic and essayist of the Victorian era. In this book, Pater explores the art, literature, philosophy, and culture of the Renaissance period, focusing on the individuality and uniqueness of each artist and thinker. He argues that the Renaissance was a time of intense intellectual and aesthetic excitement, where the human spirit was liberated from the constraints of medieval dogma and tradition.

About the Author “Walter Horatio Pater”

Walter Horatio Pater (1839 – 1894) was an English essayist, art and literary critic, and fiction writer, regarded as one of the great stylists. He was associated with the Aesthetic movement. He is known for his influential writings on art, literature, and culture. Pater’s prose style is characterized by its evocative and poetic language, and his works played a significant role in shaping aestheticist philosophy and criticism.

His first and most often reprinted book, Studies in the History of the Renaissance (1873), was revised as The Renaissance: Studies in Art and Poetry (1877). His other famous philosophical novel is Marius the Epicurean (1885).

Preface of Studies in the History of the Renaissance / As A Critic Of Renaissance

In the preface of the book, Pater explains his aim and method of writing this book. He states that he does not intend to provide a comprehensive history of the Renaissance, but rather to present some impressions and interpretations of its most representative figures and works. He also clarifies that he does not claim to be objective or impartial, but rather to express his own personal taste and appreciation of beauty. He writes: “To regard all things and principles of things as inconstant modes or fashions has more and more become the tendency of modern thought.”

“To see the object as in itself it really is,” has been justly said to be the aim of all true criticism; and in aesthetic criticism the first step towards seeing one’s object as it really is, is to know one’s own impression as it really is, to discriminate it, to realize it distinctly.

Pater wants to awaken any Critic to engage in any literature work, poetry, or artistic, they should ask these types of questions.

What is this picture or this engaging personality presented to me?
What effect does it really produce on me?
Does it give me pleasure?
and if so, what sort or degree of pleasure?
How is my nature modified by its presence, and under its influence?

The answers to these questions are the original facts with which the aesthetic critic has to do; and, as in the study of light, of morals, of numbers, one must realize such primary data for oneself, or not at all. The critic should possess a correct abstract definition of beauty for the intellect, but a certain kind of temperament.

“The ages are all equal,” says William Blake, “but genius is always above its age.”

Few artists, not Goethe or Byron even, work quite cleanly, casting off all debris, and leaving us only what the heat of their imagination has wholly fused and transformed.

Take, for instance, the writings of Wordsworth. The heat of his genius, entering into the substance of his work, has crystallized a part, but only a part, of it; and in that great mass of verse there is much which might well be forgotten.

Pater’s preface is considered to be one of the most influential statements of aestheticism, a movement that advocated art for art’s sake and rejected moral or social values as criteria for judging art. Pater’s preface also reflects his own philosophy of life, which he calls “the love of art for its own sake”. He advises his readers to cultivate a sense of curiosity and wonder, to seek out new experiences and sensations, and to live fully in the present moment.

Thus, we can see Pater’s preface is a remarkable piece of prose that reveals his vision of the Renaissance as a model for modern life. He invites us to join him in his quest for beauty and meaning and to embrace the diversity and complexity of human expression.

Summary and Analysis of Studies in the History of the Renaissance

In his collection of essays, Pater explores works of art and poetry spanning over 500 years (From the 12^th century to the 18^th Century). He seeks to distinguish and analyze the special impression of beauty or pleasure.

Aucassin and Nicolette

Walter Pater begins by arguing that elements of the Renaissance spirit existed even before the Renaissance in 15th-century Italy. Pater cites two early 12th-century French stories, Amis and Amile, which depict deep friendship and love, and Nicolette and Aucassin, a tale of love between a slave girl and a count’s son.

Pico della Mirandola

Pater admires Pico della Mirandola, an Italian thinker of the 15th century, for his attempt to reconcile Christian and Pagan traditions. Pater values Pico for his humanistic spirit and his belief in the “spirit of order and beauty,” rather than focusing on his scientific inaccuracies

Sandro Botticelli

Regarding Sandro Botticelli, whom many considered a minor artist during Pater’s time, Pater sees him as embodying an undercurrent of original sentiment. Botticelli’s aesthetic captures a sense of exile, loss, and struggle, particularly in his depictions of the struggles between heaven and hell in Dante’s Divine Comedy. Pater sees in Botticelli’s work a sympathy for humanity in its uncertain condition.

Luca Della Robbia

Pater discusses Luca Della Robbia, a 15th-century Tuscan sculptor known for his intense and individualized expression. Luca’s work also maintains a sense of Hellenic universality. Pater emphasizes how Luca’s low-relief sculptures strike a balance between individuality and universality, relieving the works of the hard realism often found in Greek sculpture.

The Poetry of Michelangelo

Turning to the poetry of Michelangelo, Pater characterizes him as a poet who unites strength and sweetness. While many of his disciples tend to recognize only his strength, Pater appreciates Michelangelo’s incorporation of sweetness. Michelangelo’s poetry focuses on the creation of man rather than natural forms.

Leonardo da Vinci

Leonardo da Vinci fascinates Pater for the enigmatic quality present in his work. Pater’s analysis of the Monalisa is the lengthiest he makes of a single painting in the Leonardo chapter, and remains one of the most well-known analyses of the Mona Lisa today. Pater describes Leonardo’s female beauty as nervous, electric, faint, and clairvoyant.

The School Of Giorgione

Pater explores the School of Giorgione and its connection to different art forms. He argues that all art aspires toward the condition of music because music blurs the line between form and matter most effectively. The “Giorgionesque” spirit represents this unity of form and matters through its emphasis on the decorative aspects of art—colours, lines, and sensory details.

Joachim du Bellay

Joachim du Bellay, a 16th-century French Renaissance writer, represents a softening influence on the robust aesthetic of his contemporaries. Bellay focused on form and aimed to ennoble the French language, asserting that contemporary French culture could rival classical culture in refinement. His aesthetic reflects an age that devoted significant energy to decorative arts.

Winckelmann

In his essay on Winckelmann, Peter delves into his profound Hellenism. Born in 18th-century Germany, Winckelmann became fascinated with the Hellenic ideal, finding in it a freer way of living. Although Winckelmann never had the opportunity to visit Greece, Pater emphasizes that spiritual connections can transcend physical boundaries. Winckelmann’s affinity for the Hellenic ideal, which included a celebration of male-to-male love and male beauty, is often seen as an expression of Pater’s own gay sensibilities. Pater describes the Hellenic ideal as a state of unity between man, his physical nature, and the external world.

Pater argues that modern society requires poetry. He defines it as a literary production that derives pleasure from its form rather than its subject matter. Pater specifically highlights Goethe as an example of an artist grappling with how to bring the Hellenic ideal of unity, blitheness, and repose into the modern world.

Themes Of “Studies in the History of the Renaissance”

The essays in “Studies in the History of the Renaissance” cover a range of themes related to the Renaissance period. Some of the key themes include:

Art and Aesthetics

Pater explores the importance of art and aesthetics in the Renaissance, emphasizing the artist’s creative process, the beauty of art, and its transformative power.

Individualism

Pater examines the concept of individualism and its manifestation in the art and literature of the Renaissance. He celebrates the unique perspectives and expressions of Renaissance artists and thinkers.

Classical Influence

Pater discusses the revival of interest in classical antiquity during the Renaissance, exploring the impact of Greek and Roman art, literature, and philosophy on the period.

Sensuality and Beauty

Pater delves into the sensual and aesthetic aspects of Renaissance art, emphasizing the use of sensual imagery and the pursuit of beauty as a central theme.

Conclusion

“Studies in the History of Renaissance” is a seminal work that offers a rich and insightful interpretation of one of the most fascinating periods in human history. It is also a work that invites us to reflect on our own times and culture. It questions everyone’s assumptions and values and seeks their own mode of expression and enjoyment in art and life. It is a work that challenges us to live up to the spirit of the Renaissance: to be curious, adventurous, individualistic, expressive, beautiful, and pleasurable.

Walter Pater’s essays seek to uncover the unique qualities and impressions of beauty found in various artworks and poetry throughout history. Through his exploration, he reveals the underlying spirit of the Renaissance. Pater’s writings encourage us to appreciate art’s ability to transcend time and space.

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The Prologue to The Canterbury Tales By Geoffrey Chaucer

Literature, Critical Analysis, Indian Literature, Summary

Table of Contents

Introduction

‘The Prologue to the Canterbury Tales’ is a famous literary work written by Geoffrey Chaucer in the 14^th century. It is an Introduction of stories that the pilgrims tell as they journey to the shrine of Thomas Becket in Canterbury. The Prologue itself is a poetic masterpiece and provides a vivid description of the diverse group of pilgrims who are travelling together.

The General Prologue is the First Part of ‘The Canterbury Tales’.

The Prologue begins with a description of the season of spring which symbolizes renewal and the start of a new journey.

“Whan that Aprille with his shoures soote,
The droghte of March hath perced to the roote,”

Analysis Of General Prologue

Chaucer, the narrator of the play is also a character in the story, describing how he encounters a group of 29 pilgrims at The Tabard Inn in Southwark, a suburb of London. These pilgrims come from various social classes and professions, representing a wide range of medieval society.

At dinner with the pilgrims, the host proposes a plan to the group. He says, that on the way to Canterbury, each pilgrim must tell two tales and then two on the return journey. The Host will be the judge of the tales he says. He goes on to say that the pilgrim with the best tale will get a free dinner at the tavern when the journey ends. Moreover, he also states that anyone challenging his judgement will have to pay the bill for the whole pilgrimage.

This excites the pilgrims and all of them agree to this proposal. Moreover, they also swear to follow the rules of this game. They ride out of Canterbury the next morning when the tale-telling session begins.

However, a pilgrim immediately opposes the Host authority. The Monk is invited to tell another story after the previous one is finished, but the drunken Miller wants to move on or leave. The Host’s authority is subsequently questioned in the following scenes. After all, when a drunken pilgrim and a group of mysterious strangers are together something terrible will happen. Throughout the trek, the pilgrims tell us a variety of tales.

But they soon begin insulting each other directly. For instance, the carpenter becomes insulted when Miller recounts a demeaning story about him. He fabricates a story to degrade Miller as a result. This keeps repeating, the Host’s struggle to resolve the conflicts arising continually. However, it ends only after twenty-four tales instead of the intended one hundred and twenty. It ends with a sermon which the Parson gives. It is about sin and repentance and ends with Chaucer’s departure.

Thus, the Canterbury Tales helps in giving an overview of the Characters through the general Prologue. It will help further in getting to know the pilgrims in a better manner and their mannerisms.

The prologue begins with a description of the season of spring which symbolizes renewal and the start of a new journey. The narrator who is also a character in the story, describes how he encounters a group of 29 pilgrims at the Tabard Inn in Southwark, a suburb of London. These pilgrims come from various social classes and professions, representing a wide range of medieval society.

The narrator and 29 other pilgrimages decide to begin on their spiritual and religious quest the next morning. But before the pilgrimage starts, the narrator makes a point to observe and analyze every individual and create a persona based on their visible and discernible choices, manners and appearance.

The Prologue to The Canterbury Tales Character Analysis

Chaucer begins to sketch the different characters beginning with the knight and his Son the squire.

The Knight – The Knight is a worthy man. He has noble qualities like Chivarly, Truthfulness, Honor, Courtesy and Charity. These are the codes of virtues that are supposed to have in a knight in the medieval era.

After the Prologue it is the knight who begins the first tale. He narrates a romantic story of a woman and two knights who fall in love with her.

The Squire – The squire is the son of the knight. He is around twenty years old. He has a passion for playing flute and singing. He narrates the story of a mysterious knight who comes to the court of Tartary with gifts.

The Yeoman – He is a servant to the knight and travels with him. He skillfully looks at the knight’s arrows and carries with him a great deal of weaponry used by his master. He is shown as a pious man with the mention of possessive silver St. Christopher on his chest. He doesn’t narrate any tale.

The Prioress – The name of the prioress is ‘Madam Eglentine’ As she is a nun, she often sings religious songs. She speaks French well, which was the standard language during the 14th century. She carries a golden brooch with shiny impressions that say:

“Amor vincit omnia
Love conquers all.

She narrates the tale of a child who sings on the Virgin Mary is killed by Hateful Jews who don’t like singing.

Nun – She is the secretary of Madame Eglantine, the Prioress. She narrates the life of St. Cecilia as her contribution to the pilgrimage.

The Monk – The Monk has a high rank in a monastery. He is handsome to look at. He looks at things differently and often keeps aside the Old traditions. He describes a series of tragedies about Lucifer, Sampson, Hercules, Nabugodonosor, Balthasar etc.

The Friar – The Frior’s name is Hubert. He is a joyful and lustful person. He is the best beggar who knows very well how to extract money from people. He starts to tell of summoner when a debate boils up between him and summoner.

The Merchant – According to the description the merchant is a solemn gentleman with great bargaining Skills, without having any need of debts. He narrates the story of a blind man, who longs for a union and marries a fair young girl who becomes unfaithful for her husband.

The Clerck – He is a studious man who was educated in Oxford University and has a passion for books. The tales of the Clerk is about a man of aristocratic class who wants to know about the devotion of his wife Griselde by Conducting several tests which are harsh.

The Sergeant – The sergeant of the law is full of dignity and speaks words of wisdom without any stuttering. The man of law can write legal writings that contain no flaws or errors whatsoever. He narrates the story of a woman named Constance, with numerous tragedies in her life that she overcomes by having faith in Christianity and God.

The Franklin – The Franklin is the company of the Sergeant. He is so careful about the food he takes and Selects the food and drinks based on the season. Franklin narrates a desperate tale about her husband, accepting to get associated with another man.

The Haberdasher, The Carpenter, The Weaver, The Drier, The Tapestry marker

All these appear uniform in clothing. Each of them is knowledgeable and suitable for an elder man. The five men do not contribute a tale to the Canterbury Tales during the pilgrimage.

The Cook – The cook goes with them. He can do anything concerned with the kitchen. He has an ulcerous sore on his skin. He narrates an abruptly ending story of Perking Reveller who is an apprentice.

The Shipman – The Shipman wears a cloth made of wool that only covers the body to the knees. He is very experienced at sea. He tells the story of a woman in need of money to pay off the debts her husband has made. The barque that he owns is called the Magdalene.

The Doctor of Physic – The narrator says he is skilled in medicine and surgery and knows astronomy. He knows the cause of every illness. He tells the story of Virginius, a bold knight instead of offering her daughter to sin kills her and makes her blessed by God.

The Wife Of Bath – The partially deaf woman who married to five men is the most boisterous of all the travellers. She has a great skill at making clothes and her head is clad with linen. Her travelled places, include Boulogne, Rome, St. James of Compostella and Cologne. In this way, she is an experienced traveller. He gives out a feministic note on different things such as marriage, men and women and even interprets the Bible in her own way stating that there is no. decree written in the book about marrying once.

The Parson – The Parson is a holy man in the town where he lives. Due to his devotion, he bounds only to tell the truth and earns only little to live. He says,

“That if Gold rust, what would iron do?”

It means if the priest whom we trust becomes corrupted, what would an ordinary man do?. The person is the lost of the travellers to narrate the tale and he discusses about penitence, confessions, seven deadly, sins, etc. and they end with Chaucer’s retraction.

The Ploughman – The Ploughman is Parson’s brother. He loves his neighbours. He helps the poor, without expecting any reward. However, he does not narrate a tale.

The Miller – He is big, muscular and a champion at wrestling with immense power. He carries along with him a shield and a sword. He narrates the tale of a student who longs to indulge in an affair with a carpenter’s wife.

The Manciple – He is described as the financial operator who buys religious provisions. Although he is not highly educated but he can certainly manipulate his way around those who are full of wisdom. The Manciple’s tale is about crows in relation to the story of Phoebus where a crow speaks of his wife’s unfaithfulness.

The Reeve – The Reeve is a slender, choleric and short-tempered man. He narrates the story of two Oxford students who humiliate a miller with villainous intents.

The Summor – He has a way of tricking people and suffers from skin disease. The tale seems as a response to the Friar’s tale and describes the professions of Friar in the manner of parody.

The Pardoner – He is a friend and peer of Summoner. The pardoner tells the about the death of three rioters in the form of an allegory. The cause of death in avarice.

The Host – The lost member is to be described in the prologue. Harry Bailly or the host is the owner of the Tabard Inn, where the journey starts. He is one to come up with the idea of tale telling game and plays a major role in calming down the company whenever there seems to be a possibility of an argument. The original idea of the host was that each of the travellers should give out two tales, but in the Canterbury Tales the numbers differ and some of them don’t even tell a lie.

Conclusion

Thus through ‘ The Prologue to The Canterbury Tales’ Chaucer provides detailed descriptions of each character, highlighting their appearance, clothing and personality traits. He offers insightful commentary on their individual characteristics, often satirizing the flies and vices of each person. Through this detailed portrayal, Chaucer provides a social commentary on Medieval society, exposing the corruption, hypocrisy and greed prevalent during that time.

It also showcases Chaucer’s mastery of characterization and his keen observations of human nature, providing a rich and colourful portrait of Medieval England.

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Hayavadana By Girish Karnad | Hayavadana Themes & Analysis

Literature, Critical Analysis, Novel

Table of Contents

Introduction

“Hayavadana” is a play by Indian writer Grish Karnad. It was first published in 1971. The play was originally written in Kannada and Karnad translated it into English himself. Karnad writes ‘Hayavadana’ inspired by Thomas Mann’s – The Transposed Heads and Thomas Mann was inspired by an 11th-century Sanskrit text ‘Kathasaritsagaro’. It is the story of two best friends ‘Devadatta and Kapila’ or their love Padmini. It is also the story of a man with the face of a horse, who is seeking to become human.

‘Hayavadana’ is based on the idea that humans are imperfect and thus have several limitations. The play also deals with women’s emancipation. It is divided into two parts.

Some Important Characters

Devadatta – One of the play’s two main protagonists. Son of Brahmin and he is a poet and political observer. He is a close friend of Kapila but end of the play feels jealous when he sees there is a mutual attraction between Kapila and Padmini

Kapila – One of the play’s two protagonists. Son of Ironsmith and a muscular and dark man. When Padmini chooses to remain with Devadatta’s head on Kapila’s body, Kapila goes into the forest and withdraws from society. He and Devadatta kill themselves in Solidarity by the end of the play.

Padmini – She is a beautiful young woman who is the object of desire of both Devadatta and Kapila. She chooses Devadatta because she is attracted by his intelligence. She is also very attracted to the physicality of Kapil.

Bhagavata – Narrator of the play.

Hayavandana – He is a man with the head of a horse born from a woman who married a horse and bore his son.

About Grish Karnad

Girish Karnad is an outstanding Indian English and Kannada Playwright. He is one of India’s brightest shining stars and earned international acclaim as a playwright, poet, actor, and translator. Karnad is the recipient of ‘The Sahitya Academy’, ‘Padmashri’, ‘Padmabhusan’, and ‘Janpith Award’. Among his best-known plays include – ‘Yayati, ‘Tughlaq’, ‘Naga-Mandala’, ‘Tale-Danda’, ‘The Dream of Tipu Sultan’, and many more.

About the Title Of Hayavadana

The title of the Hayavadana has a significant meaning, ‘Haya’ means horse, and ‘Vadana’ means head. The central character of the play is a man with the head of the horse. The title gives an idea of the story.

Theme of Incompleteness depicted in the play Hayavadana (Conflict between Body and Mind/ Theme of Identity Crises)

The play Hayavadana presents the theme of incompleteness. There is the conflict between body and mind portrayed. There are also tangled relationship that reveals the unclear nature of human personality. In this play, there are two intimate friends, Devadatta, the man of intellect and Kapila, the man of physique. Devadatta married Pamini but Kapila falls in love with Padmini. In a comical scene, Padmini changes their heads, giving Devadatta’s. Hence the result of confusion of identities.

At the beginning of the play, a mask of Ganesha is brought onto the stage and kept on a chair. Worship is done and Bhagavata signs verses in praise of Ganesha, accompanied by the musicians. So from the very beginning of the play, we find the use of the word ‘Incomplete ess. Ganesha is considered the destroyer of obstacles and the lord of perfection and success.

Bhagavata, the narrator finds in Lord Ganesha the picture of incompleteness because he has an elephant head and a human body. The theme of incompleteness is presented at three levels – Divine Level, Human Level, and Animal Level.

A scream of horror is heard off the stage by Bhagavata. An actor comes running in trembling with fear. He tells Bhagavata that he has seen a man with a horse head. It’s Hayavadana, a man with the head of a horse. ‘Haya’ means horse and Vodana means head. He is the son of the princess of Karnataka. She was a very beautiful girl who fell in love with a white horse. Hayavadana felt incomplete with this horse head and wanted to rid of it.

In the city of Dharmpura, there were two best friends called as the only son of revered Brahmin, Vidyasagar. He is attractive in appearance, fair in colour and unrivalled in intelligence. The other one is Kapila. He is the son of iron-smith, Lohita. He is dark and plain to look at and he has immense strength and Physical Skills. Bhagvata describes their friendship as Lava and Kusha, Ram and Lakshmana and Krishna and Balarama.

Bhagavata Calls them “One mind one heart”. Devadatta falls in love with Padmini, she is the beautiful daughter of a merchant in Dharmpur. Devadatta falls in love fifteen times and he fails to get married to any one of the girls. His 16th Love also seems to be a failure. He swore that he would sacrifice his two arms to the goddess Kali and head to Lord Rudra if Padmini became his wife.

Devadatta and Pamini get married Kapila frequently goes to Devadatta’s house. Padmini is attracted towards Kapila. One day threesome planned a trip to Ujjain. Padmini and Kapila go out to the temple of Rudra and Devadatta walks to the temple of Kali. He offers his head to the Goddess.

When Kapila and Padmini returned to the cart, Devadatta was not there. Kapila goes to the Kali temple and finds Devadatta dead. Now Kapila also cuts off his head, thinking people will say he has murdered Devadatta for Padmini. It is darker when Pamini reach the temple and She stumbles over the bodies.

Finding both of them dead, Padmini lifts the sword to sacrifice her too. But goddess Kali appears and interrupts her. Padmini falls at her feet and begs for their life. Goddess Kali grants her request. Eagerly, Padmini puts the head back. But in her excitement, she mixes them up so that Devadatta’s head goes to Kapila’s body and vice versa. After their exchange of bodies, they are excited and happy. But the problem ensues when Kapila’s head claims Padmini as his wife.

Kapila broken hearted goes to the forest. Now, when Devadatta has Kapila’s body, Padmini gets complete satisfaction. Padmini again starts craving for Kapila’s body. Padmini sends Devadatta to Ujjain fair to bring dolls for the boy. She herself goes out in the forest where Kapila lives. Padmini wanted to join Kapila but he refused.

Thus, in the play ‘Hayavadana’ Girish Karnad presented the theme of incompleteness at three levels – divine, animal, and human. Fundamentally human beings are incomplete and imperfect.

How different is Padmini’s Attraction to Kapila and Devadatta?

Pamini is responsible for the rivalry between Devadatta and Kapila. She marries Devadatta because she loves his mind. Even while she is pregnant with Devadatta’s child, she begins to long for Kapila’s muscular body. It is her split desire which causes Devadatta to kill himself followed quickly by Kapila.

Padmini changes the man’s head accidentally. She appears to get the best of both when Devadatta’s head is attached to Kapila’s body. As the men’s bodies slowly return to their farmer states, she begins to yearn again for a different life. When the two men kill each other at the end of the play, she laments that they have once again left her alone. She tells the Bhagavata to take care of her son and performs Sati, throwing herself on the funeral pyre.

Panini is the central female character in the play ‘Hayavadana’. She is unconventional. She is beautiful and is also a strong woman who is able to demand what she wants. When Devadatta, the intellectual who marries Pamini, describes her to his friend Kapila, he says that her face is like a white lotus. Her beauty is like the magic lake. Her arms are like the lotus creepers.

Kapila offers marriage on behalf of Devadatta to Padmini, and she immediately accepts. After marrying, she is unhappy with Devadatta, who is an intellectual. Kapila says to his friend Devdatta that Pamini is as fast as lightning and sharp. She is not for the likes of Devadatta what she needs is a man of steel. Panini is too sharp and demanding for her husband, and she yearns for the muscularity of Kapila. She says of Kapila that he has an unearthly shape. Such a broad back – like an ocean with strong muscles.

Padmini demands a husband who is not only smart but physically appealing and when the two men kill each other in a fight, she appeals to the goddess Kali to help her. It is then that Padmini carelessly reattaches Devadatta’s head to Kapila’s body. Thereby creating what she thinks will be the perfect husband. While events do no turn out the way she expected.

Padmini is unusual because she connects Kapila’s head to Devadatta’s body and does the same with Devadatta’s head by fixing it on Kapila’s body. She was doing this in an attempt to create the perfect man. It should be noted that Kapila and Devadatta were very close friends, they were also quite different, especially with regard to the argument that the head is superior to the body.

Kapila supports the idea, that the body is more superior to the head since he is a wrestler. Devadatta holds the opposite since he is a learned poet. Padmini and Kapila fall in Love and make the situation complex because Padmini is Devadatta’s wife. It is after the death of both Devadatta and Kapila that she changes their head and their bodies. The situation after exchange brings about confusion in the bodies and eventually, Kapila’s and Devadatta’s heads return to their initial personalities. Changes end up in failure for Padmini who attempts to create the perfect man, both physically fit and intellectually superior.

Conclusion

Thus the whole story of “Hayavadana” moves around Pamini’s dreams of perfection. Actually, it is a foolish idea of her for a perfect man in mind and body together. Padmini suffers behind the Patriarchy bars. So the play is ‘Rebellion’ against tradition and Patriarchy. It also shows human dissatisfaction with life and physical and sexual desire which blinds the eyes of truth.

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The Bluest Eye By Toni Morrison | The Bluest Eye Summary

Summary, English Literature, Literature, Novel

Table of Contents

Introduction

“The Bluest Eye” is the debut novel of Pulitzer Prize and Nobel Prize-winning author Toni Morrison. It is a profound exploration of racism, beauty standards and the human condition. It was first published in 1970 and is considered one of Morrison’s seminal works. Set in Lorain, Ohio, in 1940, the novel explores the devastating effects of racism on Young African—American girls. The novel is divided into different sections named after the seasons – Fall (Autumn), Winter, Spring and Summer.

The story revolves around the life of a young girl named Pecola Breed Love, who years for blue eyes and believes that having them will make having them will make her beautiful and loved.

About Toni Morrison

Toni Morrison, originally named Chole Anthony Wofford was an American writer noted for her examination of the black experience (Particularly the black Female experience ) within the black community. She received the Nobel Prize for literature in 1993, She was the First African-American woman to win the Nobel Prize. She normally wrote about racial discrimination. She also received a Pulitzer ‘Beloved’. She has published approximately 11 novels, among which world-famous novels are ‘Song of Solomon’, ‘The Bluest Eye’, ‘Sula’, and ‘Beloved’.

Historical Context

The Bluest Eye is Penned down in the Era when the Civil Rights was at its peak. The basic themes and core issues of the Novel are the same as that of the Movement. Inside the Civil Rights Movement, another movement emerged stating that ‘Black is Beautiful’. The ‘Black is beautiful’ movement, is intended to wipe out the possibility that dark individuals, common traits, like the colour of the Skin, facial traits and Hair are inalienably appalling and ugly.

The Setting of the Novel

The Bluest Eye happened in Lorain, Ohio. It is a small town located on the bank of the Lake Erie. The novel starts in 1940 when the economy of Lorain depends on the industry.

Summary of the ‘The Bluest Eye’

The story of the novel starts with Nine-year-old ‘Claudia Mac Teer’, and her 10-year-old sister, ‘Frieda Mac Teer’ who lives in an old house in Lorain, Ohio. It is 1941, near the end of the Great Depression and their family struggles to make ends meet.

“Quiet as it’s kept, there were
no marigolds in the fall 1941.”

Although there is a tremendous sense of love in their home, their mother Mrs. Mac Teer is strict and punishes them often, but out of a sense of concern and love for her Children. Their father works hard to keep the family afloat. To help financially, the Mac Teer’s take in a boarder named Henry Washington. They later take in a young girl named Pecola Breedlove because her family’s house was down and ended up in jail Claudia and Frieda like Pecola, but feel sorry for her.

Pecola and Frieda love Shirley Temple because of her beauty, but Claudia hates Shirley Temple. She also hates the similarly blonde and blue-eyed baby dolls that she is supposed to adore. The only thing Claudia likes to do is destroy the dolls.

“Adults, Older girls, shops, magazines
newspapers, window signs all the
the world had agreed that a
blue-eyed, yellow-haired, Pink
Skinned dolls were what every
girl child treasured.”

Eventually, Pecola moves back into the apartment where her family lives and her life continues to be hard. Her father is an abusive alcoholic and her mother is neglectful and self-righteous. Her parents fight on a regular basis, and these altercations lead to physical violence by running away but Pecola being a young black girl is unable to escape. She believes she is fated to live her sad life because she is ugly, she is not white and because she lacks blue eyes. Her friend and other boys make fun of her several times. She prays for blue eyes because they will make her beautiful.

Pauline Breedlove, Pecola’s mother is partially lame and often feels isolated. She loves movies, but they make her believe in her ugliness and that only the beautiful deserve love. She cleans a white woman’s home and it makes her hate her own.

Pecola’s father, Cholly, was an abandoned Child raised by an Aunt who later died. During Cholly’s first sexual experience, two white men stumble upon the girl he has with and force him to continue sexual act as they watch. This humiliating incident leads Cholly to develop a hatred for women.

One day during the spring of 1941, Cholly returns home drunk and finds Pecola washing dishes. He rapes Pecoal and leaves her on the kitchen floor. Afterwards, Mrs Breedlove beats Pecoal when she learns of the rape. In an act of desperation, Pecola visits Soaphead Church, a local Charlatan who claims he can work miracles and asks for blue eyes. Soaphed Church tricks Pecola into poisoning a dog he has long wanted to kill, stating that if the dog acts funny it is a sign she will receive her wish.

When summer arrives, Claudia and Frieda begin selling marigold seeds. As they make their way around the neighbourhood, they learn that Pecola has been impregnated by her father. Unlike the rest of the community, the girls want the baby to live. They spend the money they have made buying it at Pecola’s house and Plant the remaining marigold seeds in their backyard. They believe that if the marigold seeds grow their prayers have been answered and the baby will live.

In the end, however, the seeds do not grow and Pecola babies die. Afterwards, Pecoal goes mad, and in her psychosis, believes she has received blue eyes.

Conclusion

Overall, Morrison’s novel ‘The Bluest Eye’ provides an essential insight into the issues of discrimination that are experienced by many African Americans. But despite many changes, modern society is still subjected to these damaging effects of beauty perception.

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Top Girls By Caryl Churchill | Top Girls Analysis

Literature, Analysis, English Literature, Summary

Table of Contents

Introduction

“Top Girls” is a significant play written by Cary Churchill. The play established Churchill as one of the late 20^th century. The playwrights of the late 20^th century. The play approaches some of the famous women in history the role of women in history and the role of women in history and the role of women in contemporary society. The play approaches history and the role of women in contemporary society. The play is set in Britain in the early 1980s. It was first performed in 1982 at the Royal Court Theatre in London. It is a play with an all-women cast. Men though present in the stories are absent on the stage.

The story is told through the characters of five women of different join Marlene, who is the Chief Executive of Top Girl’s Employment Agency in London at a dinner party.

About Caryl Churchill

Caryl Churchill is one of the most significant and prolific British playwrights of the postmodern Era. She has written over thirty plays along with several translations and adaptations. Her work has been celebrated not only in the UK but internationally as well. ‘Downstairs’ her first play was written while she was at university. Some of her other notable plays include – ‘Cloud Nine’, ‘Serious Money’, ‘A Number’, ‘Top Girls’, ‘Blue Heart’, and ‘Far Away’. She also won a lot of literary awards for her works.

Analysis Of The Play ‘Top Girls’

The play opens in a restaurant where Marlene is hosting a dinner party for five friends. She has recently been promoted at work. The five guests are all women who are either long-dead or are fictional characters from Literature or paintings.

The first to come are ‘Isabella Bird’ and ‘Lady Nijo’. Nijo and Isabella discuss their lives, including their families. ‘Dull Gret’ and ‘Pope John’, who was elected to the papacy in the ninth century, appear. The conversation wanders between subjects, including religion and the love lives of Nijo and Isabella. Isabella goes on about her travel experiences. John talks about dressing and living as a male from the age of twelve so that she could further her education. Marlene proposes a toast to her guests. They, in turn, insist on toasting Marlene and her success.

John related her disturbing story. While she enjoyed being the pope, she also had a discreet affair with a chamberlain and became pregnant. She gave birth to her child during a papal procession. John was stoned to death and her child, she believes was also killed. While John relates her story, Nijo talks about her four children being born and talks about how she never had children. Marlene wonders why they are all so miserable.

The final guest arrives. She is Patient Griselda, a character in Geoffrey Chaucer’s ‘The Canterbury Tales’. Griselda tells her story. Though she was a peasant girl, she was asked to be the wife of a local prince, but only if obeyed him without question. Griselda agreed, She is losing the two children she bore him, they were taken from her as infants. Then Griselda was sent back to her father.

Marlene is upset by Griselda’s tale. Nija is also perturbed because her children were never returned to her. Gret finally speaks up about her journey through hell, and how she beat the devils. The scene ends with Isabella talking about the last trip she took.

The following Monday, Marlene is interviewing Jeanine for possible placement. Marlene tells Jeannie that if she is to be sent on a job with prospects, she must not tell them that she is getting married or might have children. Marlene evaluates Jeanine and suggests a job based on her perception of Jeanine’s future.

The action moves to the backyard of Marlene’s elder sister Joyce, Joyce’s sixteen-year-old daughter Angie and her twelve-year-old friend Kit are playing. Angie says she wants to kill her mother. Joyce comes out and calls, once again for the girls to come inside. Angie goes inside and comes back in just a moment later in a fancy dress which is too small for her. Angie reveals that she had put the dress on to kill her mother. She tells Kit she is going to London to see her aunt. Angie believes that Marlene is really her mother.

In the next scene, The Top Girls employment agency workers Nell and Win spend their time gossiping before starting work. They discuss their client’s profiles and their personal lives. They also gossip about their boss Howard, who is angry that Marlene has been promoted over him. Marlene receives a phone call from Joyce, who tells her that Angie has run away from home to visit her in London.

Marlene is surprised by Angie’s presence and asks if Angie is just visiting for the day, but Angie reveals that she has come to London to stay with Marlen indefinitely. Marlene tells Angie she has to go take care of some business, and leaves Angie alone in her office Nell interviews a young woman named Shona, it becomes clear over the course of the interview that Shona has lied about everything on her resume. Win and Angie get to talking – Angie asks for a job at Top Girls. Marlene returns to find Angie asleep.

Joyce also meets her sister Angie in their home in rural Suffolk. Then we learn that Marlene has a dark secret. She is actually Angie’s biological mother but she gave up her daughter to Joyce when she was born, so she pursued her career without any obstacles. Joyce resents Marlene for abandoning her family. Angie idolizes Marlene and wants to escape from her dull and unhappy life with Joyce. The play ends with a confrontation between Marlene and Joyce, in which they argue about their conflicting values and choices.

Conclusion

Thus, “Top Girls” is a play that challenges and questions the conventional notions of success and happiness for women in modern society. It asks whether women can have it all, career, family, freedom or whether they have to compromise or sacrifice something along the way. It also examines how women relate to each other across different historical and cultural contexts, and whether they can support or empower each other despite their differences.

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