Indian Aesthetics

 Hello readers! This blog is written in response to a thinking activity assigned by Dilip Barad sir, Department of English, MKBU. In this blog I am going to write about Indian Poetics. We had an expert lecture of famous gujarati poet, writer and literary critic Vinod Joshi sir from 5th to 13th January 2023. He taught Indian Poetics to us. He discussed various schools of Indian Poetics like Rasa, Dhvani, Auchitya, Vakrokti, Riti and Alankar. 

Introduction:

Indian aesthetics is a unique philosophical and spiritual point of view on art, architecture and literature. Indian Aesthetics is all about analysis of literature especially Poetries. There are several chief Indian Aesthetics & Poetics who introduced the various theories which we used alot in our literature. The prosperous tradition of Indian aesthetics is said to have begun from Bharat Muni in and around the 1st century.

As there is ‘Western Criticism’ and can be called ‘Poetics’ as a proper canon, similarly, in Sanskrit there is a particular canon of Sanskrit Criticism which is usually bannered as ‘Kavya Mimamsa’ and which acts like an umbrella for various schools developed by scholarly thinkers. In Indian Aesthetics, there are various schools and each of them tries to elaborate the significant part of poetics. 

1.Rasa theory by Bharata

2. Dhvani theory by Anandvardhan

3. Vakrokti theory by Kuntaka

4. Alankara by Bhamah

5. Riti by Vaman

6. Ramaniyata by Jagganatha 

1) Rasa Theory:

The Rasa theory originates with Bharata in Natyashastra. It claims that the object or meaning that is sought to be conveyed in literary composition is in the nature of an emotional effect of diverse human experience on man's mind and heart. Bharata has given the formula Kehtak has defined Rasa. The most personal thing in the world is 'ભાવ'. The emotion is natural. We experience emotions without language but when we think about something then we need a language.

Rasa are created Bhavas means State of mind. According to Bharat, to understand Indian literary criticism, it is significant to understand the connection of "Bhava"(emotion) and "Language". Bhava is the first thing with which humans are connected since birth, also each and every animal has Bhava. But language is something which 

Synopsis of Bharata's Natyashastra is:

विभावानुभावव्यभिचारी संयोगात रसनिष्पत्ति:।

अर्थात: ભાવ, વિભાવ, અનુભાવ, તથા વ્યભિચારી ભાવના સંયોગથી રસનિષ્પત્તિ થાય છે.

1) Vibhav:

The reason through which Rasa comes out is called Vibhav. There are two types of vibhav

1. Aalamban Vibhava ~ inclined

2. Uddipana Vibhava ~ stimulus / catalyst

Uddipana is also very much needed in life. Poet Kalidasa composed Uddipana to evoke the feeling of love in Kehtake. 

2) Anubhav:

Nothing happens from action, everything happens from reaction. Anubhava is followed by action.

An event of Kalidasa's Kumarasambhava, Parvati dances. शैलाधिराज तनया...

In साहित्य दर्पण, It is said that, Rasa is emerged when Sthayi bhavas are combined with Vibhav, Anubhav and Vyabhicharibhav. So, before understanding Rasa Sutra, Let's first try to look at the Sthayi Bhavas:

3) Sthayi Bhav:

Sthayi Bhava is explained by Bharata through commentary. आहार निद्रा भय मैथुनश्च। Bharata has described eight emotions. Mammat introduced the ninth rasa. Sthayi bhavas are those bhavas which we can't prevent from coming out as an expression. We can control these bhavas, we can increase and decrease the immensity of its expression. સ્થિરભાવ is shown as સ્થાયીભાવ.

श्रृंगार करुण वीर रौद्र हास्य भयानक

बिभत्यद्भुत शान्तश्च नव नाट्ये रासा: स्मृता ।।

अर्थात्: ખેવના, ચીવટ, દાનત, તાત્પર્ય, એકાગ્રતા, જિજ્ઞાસા તમે જે કલા શીખો છો તેની દ્રષ્ટિ પરખવાની હોવી જોઇએ.

સ્થાયીભાવ:

રતી - શૃંગાર 

શોક - કરુણ 

ઉત્સાહ - વીર 

ક્રોધ - રૌદ્ર

હાસ - હાસ્ય 

ભય - ભયાનક 

જુગુપ્સા (ચિતરી) - બિભત્સ્ય

વિસ્મય - અદભુત 

શમ - શાંત 

Bhatt Lollat:

Bhatta Lollat says, "Interest does not exist, interest has to be produced." How is interest generated? In the play, the interest is through the character. Bhatta Lollat's entire argument is known as derivationalism(ઉત્પતીવાદ)

Shree Shankunk:

Shree Shakuk countered Lollat’s opinion that there is no rasa and rasa is neither created nor generated, rasa is only perceived or inferred. This supposition or perception are of four types:

1.   True conviction (યથાર્થ પ્રતીતિ)
2.    False conviction (મિથ્યા પ્રતીતિ)
3.  Suspicious conviction (સંશય પ્રતીતિ)
4.   Similar conviction (સાદૃશ્ય પ્રતીતિ)

Bhatt Nayak:

He has given the principle of normalization (સાધરણીકરણ). When Nut feels the feelings of the original character in himself and the audience also feels this feeling through Nut, it is called generalization. The intensity of the perception of interest increases as that interest is enjoyed. There is no conviction until interest is experienced.

Abhinav Gupta:

"પ્રકાશાનંદમય જ્ઞાનની પ્રતીતિ, અનુભૂતિ કરાવે તેનું નામ રસ"

 Abhinavagupta counter argued to all three scholars that Rasa is generated only when the nut-nuty, the audience and the creator predict bhavas and engrossed in that bhavas. It is not enough to enjoy but churning should be done. Tastes and juices are different. Chew it and feel the sensation when it is absorbed.

2) Dhvani Theory:

'Shabda’(letter) + ‘Arth’(Meaning)= Dhvani

જેમાં શબ્દ અને અર્થ ગૌણ બની જાય અને જે પર્તિયમાન અર્થ પ્રગટે તેને ઘ્વનિ કહે છે. 

Dhvani theory was coined by Anandvardhan in his book dhvanyaloka. Motion is the cause of Dhavani. Dhvanyaloka’ itself is a huge compendium of poetry and poetics styles. The medium of literature is language. But why is criticism possible without linguistics? Words have no meaning. Meaning is imputed. The joy of literature comes to us through its fulfilling Dhvani.

In the beginning of Raghuvansh, Kalidasa says that,

वागर्थाविव सम्पृक्तौ वागर्थप्रतिपत्तये ।

जगतः पितरौ वन्दे पार्वतीपरमेश्वरौ ॥

Here Kalidas gives importance to the combination of Shabda and Artha by comparing it with the couple Lord Shiva and Parvati.

Abhidha:

"શબ્દ અને અર્થ એ બંને સાથે હોવા જોઈએ, એ બંને એક જ છે." (આનંદવર્ધન)

Abhidha which gives the Direct meaning while reading. It gives real meaning. Literature is the combination of words and meaning. 

Lakshana:

When we can’t take direct meaning or any sentence, text or anything and we have to take nearer or another interpretation is called as Lakshana. 

Vyanjana: 

When there is a direct meaning or we don’t have to interpret this basic meaning and take another meaning, it is called Vyanjana.

Ex. મીઠા મધુને મીઠા મેહુલા રે લોલ એથી મીઠી છે મોરી માત રે 

Pratiyman:

જેમાં શબ્દ અને અર્થ ગૌણ બની જાય અને જે પ્રતીયમાન અર્થ પ્રગટે તેને ધ્વનિ કહેવાય.

This pratiyaman artha is that When there is nothing described and we understand it by hidden meaning. So Anandvardhan describes this hidden meaning as Dhvani.

For example:

અંધારું થયું:

- વચ્યાર્થ - પ્રકાશ ચાલ્યો ગયો.

- પ્રતીયમાન અર્થ - કોઈનું મૃત્યુ થયું.

3) Vakrokti:

शब्‍दार्थौ सहितौ वक्र कवि व्‍यापारशालिनि।

बन्धे व्‍यवस्थितौ काव्‍यं तद्विदाह्लादकारिणी।।

Kuntaka is known as the originator of this Sanskrit literary theory. Vakrokti is a theory of poetry which perceives poetry essentially in terms of the language of its expressions. Kuntaka was remembered for his work Vakroktijīvitam in which he postulates the Vakrokti Siddhānta or theory of Oblique Expression, which he considers as the hallmark of all creative literature. Vakrokti gives charm to language and thus to the Literature. For example,

Ex - 

અમે વળીને જોયું અને તમે વળ્યા વાક,

ગલીનો હોય કે પછી નજરનો છે વાક.

There is a Six types of Vakrokti:

1. Varn Vinyas Vakrata 
2. Padpurvardh Vakrata 
3. Padparardh Vakrata
4. Vakya Vakrata
5. Prakran Vakrata
6. Prabandh Vakrata 

4) Alamkara:

Bhamah has discussed Alankara in detail in his book “Alankarshstra ''. Alankar generally means Ornaments. Here we talk about ornaments of literature. In most of the literary art we will find so many examples of these ornaments applied to the language. Second and third chapters of Kavyalankara deal with 35 figures of speech.

Ex-

" નાહ્યા પછી નખ કુણા

સખી રે, મારા સાજન છે એવા સલોણા"

"બીજ માંથી સીધી પૂનમ લય ને 

સહેજ પાપણ નમેલી ખોલી નાખ"

Types of Alamkara:

Arthalamkara

Shbdalamkara

Vastava (Realistic)

Swdt (Eluviation)

Anupamaya (Comparison)

Slesh (paronomasia)

Astisaya (Exaggeration)

Citra (Pectoris)

Slesa (Coalescence)

Yamaka (Repetition)

Anuprasa (Alliteration):

Mammata enumerates sixty-one figures and groups them into seven types like…

1. Upma(simile)
2. Rupaka(Metaphor)
3. Aprastuta Prasmsa(Indirect decription)
4. Dipaka(Stringed figures)
5. Vyatreka(Dissimilitude)
6. Virodha(Contradiction)
7. Samuccaya(Concatenation)

5) Aucitya:

Kshemendra is the founder of Auchitya School. The other nearest meaning of this word is' Perfect' or we can also say 'Complete'. Kshemendra made aucitya spine elements of literature. He defines aucitya as the property of an expression being an exact and appropriate analogue of the expressed. In literature, Auchitya plays a vital role. If Auchitya is missing in the work of art then that work of art will not be able to create that much effect. And for that it is compulsory that the meaning or we can say that the words used by the author must be conventional. The theory of property or appropriateness claims that in all aspects of literary composition.

6) Riti:

रीतिरात्मा काव्यस्य ; विशिष्टापदरचना रीति: |

Riti is the way of presentation or the style of presentation. He is one who developed it into a theory of “Vishista Padrracana” . Riti is a formation of arrangement of marked inflected constructions. While discussing this theory, Sir referred to Shakespeare's drama and also explained in detail on four major Styles of Writing-

1. Vaidarbhi
2. Panchali
3.  Gaudiya
4.  Lati

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'Orlando' by Virginia Woolf

 Hello readers! This blog is written in response to a thinking activity assigned by Megha ma'am, Department of English MKBU. In this blog I am going to write about the life of Virginia Woolf and her famous work 'Orlando'. Differences and similarities between "Orlando" and "Vita and Virginia" also discuss Questions Answered by ma'am.

Born: January 25, 1882

Died: March 28, 1941

The English author Virginia Woolf is one of the 20th century’s literary giants, renowned for the pioneering stream-of-consciousness style. Her novels can perhaps best be described as impressionistic, a literary style which attempts to inspire impressions rather than recreating reality. Perhaps best known as the author of Mrs Dalloway and To the Lighthouse. She was also a prolific writer of essays, diaries, letters and biographies. 

Virginia Stephen was born in London on January 25, 1882. She was the daughter of Sir Leslie Stephen, a famous scholar and philosopher who, among many literary occupations, was at one time editor of Cornhill Magazine and the Dictionary of National Biography. James Russell Lowell, the American poet, was her godfather. Her mother, Julia Jackson, died when the child was twelve or thirteen years old. Virginia and her sister were educated at home in their father's library. 

In 1912, eight years after her father's death, Virginia married Leonard Woolf, a brilliant young writer and critic from Cambridge, England, whose interests in literature as well as in economics and the labor movement were well suited to hers. Virginia Woolf began writing essays for the Times Literary Supplement when she was young, and over the years these and other essays were collected in a two-volume series called 'The Common Reader'. Two of Virginia Woolf's novels in particular, 'Mrs. Dalloway' and 'To the Lighthouse' successfully follow the latter approach. She was the author of about fifteen books, the last, A Writer's Diary, published posthumously in 1953. She was died on March 28, 1941, in Lewes, Sussex, has often been regarded as a suicide brought on by the unbearable strains of life during World War II. The true explanation seems to be that she had regularly felt symptoms of a mental breakdown and feared it would be permanent. 

Movie Review Orlando:

Orlando is a 1992 British period drama fantasy film loosely based on Virginia Woolf's 1928 novel Orlando. It was written and directed by Sally Potter. The film follows the life of Orlando, played by Tilda Swinton, who starts as a young nobleman in Elizabethan England. Orlando falls in love with a Russian princess, Sasha, played by Charlotte Valandrey, who departs unexpectedly. Orlando then embarks on a journey of self-discovery, which ultimately leads to his transformation into a woman. Orlando remains ageless, and the film takes the viewer on a journey through four centuries of English history, during which the protagonist encounters various historical figures, including Queen Elizabeth I and the poet Alexander Pope.

The movie also highlights the limitations and expectations placed on women throughout history. As a woman, Orlando must contend with the limitations of her gender in a male-dominated society. However, she also experiences the freedom and possibilities that come with transcending gender norms. Overall, "Orlando" is a visually stunning and thought-provoking film that challenges traditional notions of gender, sexuality, and identity. 

Similarities and Differences between "Vita and Virginia" and "Orlando"

Similarities:

Both works explore themes of gender, sexuality, and identity. In "Vita and Virginia," the focus is on the romantic and intellectual relationship between Vita Sackville-West and Virginia Woolf, while in "Orlando," the protagonist undergoes a transformation from male to female and experiences different forms of love and desire. 

Both works experiment with literary form and style. In "Vita and Virginia," Woolf uses letters and diary entries to tell the story, while in "Orlando," the narrative spans several centuries and genres, from Elizabethan romance to modernist satire.

Both works are concerned with the role of women in society and the constraints imposed on them by gender norms and patriarchal institutions.

Difference:

"Vita and Virginia" is a non-fictional account of Woolf's relationship with Sackville-West, while "Orlando" is a work of fiction.

"Vita and Virginia" is a more focused and intimate work, centering on the complex relationship between two women, while "Orlando" is a more expansive and fantastical work that covers a broad sweep of history and culture.

"Vita and Virginia" is a more straightforward and accessible work, while "Orlando" is more experimental and challenging in its use of language and structure.

"Vita and Virginia" is grounded in the specific historical and cultural context of early 20th century Britain, while "Orlando" takes a more universal and timeless approach to its exploration of gender and identity. 

1) How far do you feel that Orlando is influenced by Vita and Virginia’s love affair? Does it talk only about that or do you find anything else too?

After studying both works by Woolf we can say that Virginia Woolf's relationship with Vita Sackville-West influenced her writing of the novel "Orlando", the film adaptation directed by Sally Potter is not solely about their love affair. Orlando’s life traces the history of Vita Sackville-West’s family, up to the present day, when Vita was unable to inherit her family estate because she was a woman. 

The film "Orlando" explores many themes beyond the scope of Virginia Woolf's personal life, including gender, identity, and the passage of time. The protagonist, Orlando, is a character who transforms from a man to a woman over several centuries, exploring the fluidity and complexity of gender identity. The film also examines the historical and cultural context in which Orlando lives, spanning several centuries of English history and reflecting on issues of power, class, colonialism. 

2) Who do you think is confused about their identity Vita or Virginia? Explain with illustrations.

Vita and Virginia film is an artful and stylish vision of the two women’s lives. Both females Vita and Verginia struggle with their identity, it is difficult to say who was more confused - both women lived in a time when social norms and expectations around gender and sexuality were very different from what they are today. Vita was oblivious to the idea that homosexuality during that time was illegal and a crime. Vita explores her gender identity and perpetually scandalizes the 1920s beau monde, and Virginia is a pioneering modernist and feminist, “an experimentalist in humanity” in Vita’s words. They are both in open marriages - something that to this day remains a taboo in western society.

3) What is society’s thought about women and identity? Do you agree with them? If Yes then why? If not then why? 

The identity of a woman can be formed by gender, marriage, and role in society. Society's thoughts about women and identity have been shaped by patriarchal norms and expectations, which have often limited women's opportunities for self-expression and self-discovery. According to patriarchy, the primary role of females is taking care of children and home. But now that situation has changed a lot, nowadays women are seen advancing in every field. So in today's time Society's thoughts about women and identity are changing, and we must continue to work towards a world in which all individuals are free to be themselves without fear of judgment or persecution. Nowadays women become financially independent and also speak against injustice and fight for her equal rights. 

4) What are your views on Gender Identity? Would you like to give any message to society?

Gender identity is each person's internal and individual experience of gender. It is a person's sense of being a woman, a man, both, neither, or anywhere along the gender spectrum. So-called essentialists hold that gender identity is fixed at birth by genetic or other biological factors. Social constructivists argue that gender identity, or the manner in which gender identity is expressed, is “socially constructed”. The message to society should be one of acceptance, inclusivity, and support for individuals of all gender identities, free from discrimination. We should value and respect every human being. 

5) Write a note on the direction of the movie. Which symbols and space caught your attention while watching the movie? 

Sally Potter 

Sally Potter directed the movie "Orlando", and her direction is a significant contributor to the film's impact and success. Potter's direction is creative and imaginative, using techniques such as surrealism and magical realism to tell the story of Orlando's transformation over several centuries. Potter uses bold visual imagery to convey the film's themes and ideas. She also makes use of music and sound to enhance the film's emotional impact, with a haunting score by composer David Motion. She creates a dream-like atmosphere and uses natural landscapes to evoke a sense of fantasy and otherworldliness.

Symbols:

One significant symbol in "Orlando" is the color green, which is associated with nature, growth, and fertility. Green is also associated with the character of Orlando herself, who is portrayed as a kind of natural force, impervious to the constraints of time and society. Another important symbol in the film is the mirror, which is used to represent the idea of self-reflection and self-discovery. 

In terms of space, the film makes extensive use of interior and exterior settings to evoke different moods and emotions. The film's early scenes are set in the opulent, aristocratic world of Elizabethan England, while later scenes take place in more austere and modern settings. The film also makes use of dream-like sequences and surreal imagery to blur the boundaries between different spaces and times. Overall, the film's use of space is closely tied to its themes of identity, transformation, and the fluidity of time.

6) "Vita and Virginia" had to be made into a Bollywood Adaptation. Who do you think would be fit for the role of Vita and Virginia? 

For the role of Vita Sackville-West, an actor with a commanding presence and a bold personality would be suitable. Some actresses who could potentially play this role are Deepika Padukone, Kareena Kapoor Khan. 

For the role of Virginia Woolf, an actor with a more introspective and nuanced acting style would be appropriate. Some actresses who could potentially play this role are Kangana Ranaut, Sonakshi Sinha.

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The Great Dictator

Hello readers! This blog is written in response to a thinking inking activity assigned by Dilip Barad, sir English Department MKBU. In this blog I am going to write about 'The Great Dictator' by Charlie Chaplin. This Movie gives us a deep understanding of the 20th century. 

About Movie:

The Great Dictator is a 1940 American anti-war political satire black comedy film written, directed, produced, scored by, and starring British comedian Charlie Chaplin. The Great Dictator was popular with audiences, becoming Chaplin's most commercially successful film. Modern critics have praised it as a historically significant film, one of the greatest comedy films ever made and an important work of satire. It was released during the height of World War II and has become a significant piece of anti-fascist propaganda.

The film takes place in the fictional country of Tomania, which closely resembles Nazi Germany. Chaplin's character, a Jewish barber, is mistaken for the ruthless dictator of Tomania, Adenoid Hynkel, who is modeled after Adolf Hitler. The film satirizes Hitler and his fascist regime and advocates for peace and democracy.

In this film Chaplin portrayed a Jewish barber who is mistaken for a tyrannical dictator. Film shows the constant suffering of Jewish people/minority because of the ego of their dictator to be 'Emperor of the World'. In the film, Chaplin portrays Hynkel as a person too childish to have as much authority as he does. He hates the press, instead filtering his messages through state-sponsored propaganda. The film concludes with an epilogue set after the start of the war in Europe, soon to be called World War II. It shows Barber, mistaken for Hynkel, forced to address a massed rally. The final speech, however, is not given by the Barber character but by Chaplin himself, who pleads for peace, tolerance, and understanding.

The greatest moment of Chaplin’s satire on Hitler and the rise of dictators is the scene in which Hynkel performs a dance with a globe of the world. This scene, which stands with the very best set pieces of Chaplin’s silent films, requires no words to convey its message.

Hynkel performs a graceful, seductive ballet with a balloon globe, a wonderful symbol of his maniacal dream of possessing the world for his pleasure. Yet when he believes he has it within his grasp, the bubble literally bursts. This is Chaplin’s symbolic comment on the futility of the dictator's aspirations and reflects his optimistic belief that dictators will never succeed. Probably the most famous sequence of “The Great Dictator” is the five-minute speech that concludes the film. Here Chaplin drops his comic mask and speaks directly to the world, conveying his view that people must rise up against dictators and unite in peace. The most enduring aspects of the final speech are its aspirational quality and tone and its underlying faith in humanity. Chaplin sketches a hopeful future in broad strokes and leaves the implementation of his vision to others, despite the fact that the more unsavory aspects of human nature may prevent mankind ever reaching his promised utopia. The final speech of “The Great Dictator” remains relevant and valuable in the twenty-first century and likely will remain so as long as conflict corrupts human interaction and despots endure. With the exception of “Gone With the Wind”, no other film of the period was met with such anticipation as “The Great Dictator.” 

The Final Speech:

In the 17th Chapter of St Luke it is written: “the Kingdom of God is within man” - not one man nor a group of men, but in all men! In you! You, the people, have the power - the power to create machines. The power to create happiness! You, the people, have the power to make this life free and beautiful, to make this life a wonderful adventure.

The Final speech of The Great Dictator by Charlie Chaplin is the sample of the inductive reasoning. The narrator refers to representatives of different racial and ethnic groups, while, blacks, Jews and others. In such a way, the Jewish Barber condemns racism and nationalism which treat people as unequal because of their racial or ethnic origin. He apparently stands for the equality of representatives of all racial and ethnic groups. He also rejects greed and stands for peace. 

The Jewish Barber defines the concept of happiness as the life in the world, where all people are equal, sympathetic, support each other and stand for peace. In such a way, the speech of the Jewish Barber is the typical example of the inductive argument as the narrator refers to part to draw the general picture and shape the final message, which he actually wants to convey to the audience. In his speech he relies on his personal experience, expectations and views, which are apparently subjective and do not necessarily mirror the objective reality. 

As both the writer and actor of this speech, Chaplin uses multiple textbook examples of rhetorical technique. Aside from clear and persuasive Ethos, Pathos, and Logos, Chaplin uses techniques such as repetition, addressing individual groups, juxtaposition, and use of similes, metaphors, and analogies. Combining these devices with raw emotion, flawless delivery, and continuously increasing intensity, Chaplin delivers a highly relevant and powerful performance, hitting close to the homes of those affected by the early years of the Second World War. While watching the speech, it becomes clear that Chaplin is not only simply reading lines from his own script, but sending a message to the entire world that he feels truly passionate towards. The final speech from the film The Great Dictator will forever be considered one of the finest, most uplifting speeches of all time.

At the end we can say that both the films of Charlie Chaplin represent a very deep history of the 20th century. It presents the life of 20th century people, class differences and how machines became the enemies for the poor people. 

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'The Great Gatsby' by F. Scott Fitzgerald

Hello readers! This blog is written as a part of a thinking activity assigned by Dilip Barad sir, Department of English MKBU. In this blog I am going to write about the Movie The Great Gatsby which is based on the novel with the same title by F. Scott Fitzgerald.

F. Scott Fitzgerald

Introduction of the novel 'The Great Gatsby':

'The Great Gatsby' is a fiction novel published in 1925 by the American author F. Scott Fitzgerald. Inspired on Fitzgerald’s own experiences during the Jazz Age of the 1920s. It is published in 1925. 'The Great Gatsby', follows Jay Gatsby, a man who orders his life around one desire: to be reunited with Daisy Buchanan, the love he lost five years earlier. Gatsby's quest leads him from poverty to wealth, into the arms of his beloved, and eventually to death. Published in 1925, The Great Gatsby is a classic piece of American fiction. It is a novel of triumph and tragedy, noted for the remarkable way Fitzgerald captured a cross-section of American society. The Great Gatsby was controversial due to the sex, violence, and language it contains. The extramarital affair between Jay Gatsby, the mysterious millionaire in the novel, and his elusive love interest, Daisy Buchanan, is alluded to but never described in intimate detail. 

The Great Gatsby is memorable for the rich symbolism that underpins its story. Throughout the novel, the green light at the end of Daisy’s dock is a recurrent image that beckons to Gatsby’s sense of ambition. The novel is fascinated by how people make their money, what they can and can't buy with it, and how the pursuit of wealth shapes the decisions people make and the paths their lives follow. It also represents class clashes, sexism and racism.

Movie:

Director: Baz Luhrmann

Based on: The Great Gatsby by F. Scott Fitzgerald

Producers:

•  Baz Luhrmann
• Catherine Knapman
• Douglas Wick
• Lucy Fisher
• Catherine Martin

The Great Gatsby is a 2013 historical romantic drama film based on the 1925 novel of the same name by F. Scott Fitzgerald. The film was co-written and directed by Baz Luhrmann. A polarizing film among critics, The Great Gatsby received both praise and criticism for its visual style, direction, screenplay, performances, soundtrack, and its interpretation of the source material.

This film adaptation is very helpful to understanding the novel - each and every element of the novel is well captured by Baz Luhrmann in this movie. Luhrmann's film adaptation of "The Great Gatsby" effectively utilizes visual and cinematic techniques to reinforce and enhance the symbolic significance of these key elements of the novel, providing a deeper understanding and appreciation of Fitzgerald's rich and complex symbolism.

How did the film help in understanding the symbolic significance of The valley of Ashes, The eyes of Dr. T.J. Eckleberg and The Green Light.

Baz Luhrmann's film adaptation of "The Great Gatsby" helps to visually reinforce and enhance the symbolic significance of several key elements of the novel, including the Valley of Ashes, the eyes of Dr. T.J. Eckleburg, and the green light.

The Valley of Ashes:

The Valley of Ashes, which is a desolate and polluted wasteland situated between West Egg and New York City, symbolizes the moral decay and social inequality of the era. In Luhrmann's film, the valley is depicted as a sprawling landfill filled with piles of garbage and smokestacks, which serve to reinforce its bleak and oppressive atmosphere. Additionally, the frequent use of close-up shots of the characters' faces as they drive through the valley highlights their discomfort and unease in this desolate and oppressive environment.

The eyes of Dr. T.J. Eckleburg:

The eyes of Dr. T.J. Eckleburg, which is a billboard advertisement for an optometrist located in the valley, are a recurring symbol throughout the novel that represents the loss of moral values and the corruption of the American Dream. In Luhrmann's film, the eyes of Dr. T.J. Eckleburg is depicted as a looming and omnipresent presence, gazing down on the characters from above and serving as a constant reminder of their moral decay and spiritual emptiness.

The Green Light:

The green light is perhaps the most important symbol in the film and also presents very well. The green light, which is situated at the end of Daisy's dock and represents Gatsby's unattainable dream of love and success, is a powerful and evocative symbol throughout the novel. In Luhrmann's film, the green light is depicted as a pulsing and ethereal glow that shimmers across the water, reinforcing its otherworldly and intangible quality. The use of slow-motion and sweeping camera movements as Gatsby gazes across the water at the green light also serves to emphasize the intensity and desperation of his longing for Daisy. As it is positioned directly across the harbor from his mansion, Gatsby looks at it longingly as a symbol for his desire to be reunited with the woman he loves. The green light represents the distance between the two lovers, both emotionally and physically. As the film goes on and Gatsby's romantic dreams fall farther and farther out of reach, we see that the green light symbolizes an even deeper desire in Gatsby to attain the unattainable. 

Difference between Film and Novel 'The Great Gatsby':

After watching the film by Baz Luhrmann on 'The Great Gatsby' here I want to discuss is Film adaptation and novel are similar or not? Film starts with the scene of narrator Nick Carraway. Fitzgerald’s Nick does refer to Gatsby as “the man who gives his name to this book”, so the idea that The Great Gatsby is a text written by Nick is not entirely original with Luhrmann, though the filmmaker takes this much further than Fitzgerald, showing Nick writing by hand, then typing, and finally compiling his finished manuscript. He even titles it, first just Gatsby, then adding, by hand, “The Great,” in a concluding flourish.

The plot of the film is pretty much entirely faithful to the novel, but Luhrmann and his co-screenwriter Craig Pearce do cut out one of the side stories: the affair between Nick and Jordan Baker, the friend of Daisy’s from Louisville who is a well-known golfer. Some scenes of the apartment party are also different from the novel. 

In the book, Gatsby takes Nick to lunch at a “well-fanned 42nd Street cellar,” where he introduces his new friend to Meyer Wolfsheim, a Jewish gangster. In the movie, Gatsby and Nick go to a barber shop with a hidden entrance to a speakeasy, and once inside they see not only Wolfsheim but also the police commissioner. 

The very important scene of Gatsby's death was also well captured by Baz Luhrmann. In the film Gatsby is murdered by George Wilson. Fitzgerald doesn’t depict the murder: The book says that Gatsby grabbed a “pneumatic mattress” and headed to his pool, then Gatsby’s chauffeur hears gunshots. In both book and movie, Gatsby is waiting for a phone call from Daisy, but in the film, Nick calls, and Gatsby gets out of the pool when he hears the phone ring. He’s then shot, and he dies believing that Daisy was going to ditch Tom and go away with him. None of that happens in the book. Gatsby is, in both versions, lonely in death, but the film is even crueler to him in this regard, dropping the last-minute appearance of his father and the unexpected arrival at the funeral. In conclusion we can say that the movie adaptation captured the main themes of the novel and there are also some changes in the movie.

Give a psycho analytical study of Jay Gatsby and write about his character.

From ChatGPT -

Jay Gatsby is the central character in F. Scott Fitzgerald's novel, "The Great Gatsby," and a complex figure who is subject to various interpretations. From a psychoanalytical perspective, there are several aspects of Gatsby's character that can be explored. 

Firstly, Gatsby's obsession with wealth, status, and power can be viewed through the lens of Freud's theory of the unconscious. According to Freud, the unconscious is the repository of repressed desires, fears, and memories that influence our behavior without our conscious awareness. Gatsby's relentless pursuit of wealth and success can be seen as an attempt to compensate for his feelings of inadequacy and low self-esteem. His obsession with Daisy can also be viewed as an attempt to fill the void left by his impoverished childhood and lack of social connections.

Secondly, Gatsby's mysterious past and his tendency to reinvent himself can be examined through the lens of Jung's theory of the persona. According to Jung, the persona is the social mask that we present to the world, and it can be seen as a defense mechanism that protects our inner selves from external threats. Gatsby's persona, as the wealthy and glamorous host of lavish parties, can be viewed as a way of concealing his true self from others and projecting an image of success and power.

Thirdly, Gatsby's romanticism and idealism can be analyzed through the lens of Freud's theory of love. According to Freud, love involves a complex interplay of sexual desire, romantic attachment, and interpersonal dynamics. Gatsby's obsession with Daisy can be seen as a manifestation of his repressed desires and his attempt to find a sense of fulfillment and completion in his romantic relationships.

Overall, Gatsby's character is a fascinating study in the intersection of psychology, society, and culture. Through his various conflicts and contradictions, he embodies the tensions and contradictions of the American Dream and the cultural forces that shaped the 1920s.

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'For Whom the Bell Tolls' by Ernest Hemingway

Hello readers! This blog is written in response to Yesha Bhatt Ma'am, Department of English MKBU. In this blog I am going to write about the novel 'For Whom the Bell Tolls' by Ernest Hemingway, characteristics of Hemingway hero and Robert Jordan as a typical Hemingway hero.

Born: July 21, 1899

Died: July 2, 1961 

Awards And Honors: 

• Nobel Prize (1954) 
• Pulitzer Prize (1953)

Notable Works: 

• 'A Clean Well-Lighted Place'
• 'A Farewell to Arms'
• 'A Moveable Feast'
• 'For Whom the Bell Tolls'
• 'The sun Also Rises'
• 'The Old Man and the Sea'

Ernest Hemingway born in Oak Park, Illinois, started his career as a writer in a newspaper office in Kansas City at the age of seventeen. After the United States entered the First World War, he joined a volunteer ambulance unit in the Italian army. Serving at the front, he was wounded, was decorated by the Italian Government, and spent considerable time in hospitals. After his return to the United States, he became a reporter for Canadian and American newspapers and was soon sent back to Europe to cover such events as the Greek Revolution.

Hemingways moved from Cuba to Ketchum, Idaho in January 1959. Hemingway, now nearly 60 years old, had suffered for several years with high blood pressure and the effects of years of heavy drinking. He had also become moody and depressed and appeared to be deteriorating mentally. Hemingway shot himself in the head in his Ketchum home early on the morning of July 2, 1961. He is among the most prominent and influential of the "Lost Generation" of expatriate writers who lived in Paris in the 1920s.

'For Whom the Bell Tolls':

'For Whom the Bell Tolls' is a classic fiction novel by Ernest Hemingway. It is Published in 1940. The story follows Robert Jordan, an American living in Spain and fighting on the side of the This novel traces three days in the life of Robert Jordan, an American Spanish professor who has volunteered to fight for the Loyalists in the Spanish Civil War. Hemingway is considered one of the most preeminent American authors, and this story leans heavily on his own experiences as a news reporter during the Spanish Civil War. It is May 1937, and the Spanish Civil War is raging. Despite the fact that he is American, Robert Jordan has left his country to enlist with the Republicans in their fight against the fascists. The Republican general has trusted Jordan with a secret mission: he must blow up a key bridge that is currently being controlled by the fascists.

In 1936 and 1937, Hemingway wrote and made speeches for the purpose of raising money for the Loyalist cause in the Spanish Civil War. Later in 1937, he went to Spain to cover the war for the North American Newspaper Alliance. His announcement, some months after he arrived in Spain, that he was writing a novel with the Spanish Civil War as its background, caused a great stir of excitement and anticipation in the literary world.

Characteristics of Hemingway hero:

The Hemingway Hero is defined by a static set of characteristics. These characteristics remain essentially the same throughout all of Hemingway's works. In Hemingway's novels "The Nick Adams Stories" and "Old Man and the Sea", the Hero is introduced differently. In "The Nick Adams Stories", Nick Adams begins as a naive, young boy then becomes the Hero within the view of the reader as his early life and the events that influenced his life most are the entirety of this memoir-style novel. In "Old Man and the Sea', though, the old man does not develop into a hero. Santiago begins as an old man who has already attained the Heroic qualities that he will demonstrate intentionally throughout the rest of the story.

Ernest Hemingway's heroes are typically characterized by their stoicism, bravery, and their ability to remain calm in the face of danger or adversity. Here are some of the key characteristics of Hemingway heroes:

Bravery: Hemingway heroes are typically brave and unflinching in the face of danger. They are not afraid to risk their lives for a cause or for the people they care about.

Stoicism: Hemingway heroes tend to be stoic and emotionally reserved. They do not show their emotions easily and often communicate through actions rather than words.

Honor and Duty: Hemingway heroes have a strong sense of honor and duty. They believe in doing the right thing, even if it means sacrificing their own interests.

Competence: Hemingway heroes are often depicted as highly competent in their chosen field, whether it be writing, fishing, or fighting.

Masculinity: Hemingway heroes are often associated with traditional ideals of masculinity, such as physical strength, toughness, and self-reliance.

Vulnerability: Hemingway heroes are not invincible and often have vulnerabilities and flaws. They may struggle with inner conflicts or emotional wounds from past traumas.

Overall, Hemingway heroes are complex and multifaceted characters who embody both strength and vulnerability, and who often struggle to reconcile their sense of duty with their own desires and emotions.

Robert Jordan as a Hemingway Hero:

Robert Jordan, the protagonist of Ernest Hemingway's "For Whom the Bell Tolls," is often considered a typical Hemingway hero. Hemingway's heroes are often characterized by their courage, stoicism, and their ability to remain calm in the face of danger or adversity.

Robert Jordan is a young American who volunteers to fight with the Republican forces during the Spanish Civil War. He is depicted as a skilled and experienced dynamiter, and is tasked with blowing up a bridge to help the Republican cause. Throughout the novel, Robert Jordan demonstrates many of the traits that are typical of Hemingway's heroes.

For example, Robert Jordan is brave and unflinching in the face of danger. He is not afraid to risk his life for the cause he believes in, and he faces many challenges throughout the novel with stoicism and calmness. He is also a man of few words, preferring to communicate through actions rather than words, which is another characteristic of Hemingway heroes. At the same time, Robert Jordan is also flawed and vulnerable. He struggles with doubts about the morality of the war, and he is haunted by memories of past traumas. His relationship with Maria, a young woman he meets during his mission, also reveals a more emotional and tender side to his character. Here I would like to share a trailer of the movie 'For Whom the Bell Tolls' that gives you a more understanding about the character of Robert Jordan and Hemingway hero.

Robert Jordan resolves these tensions at the end of For Whom the Bell Tolls, in his final moments as he faces death. He accepts himself as a man of action rather than thought, as a man who believes in practicality rather than abstract theories. He understands that the war requires him to do some things that he does not believe in. He also realizes that, though he cannot forget the unsavory deeds he has done in the past, he must avoid dwelling on them for the sake of getting things done in the present. Ultimately, Robert Jordan is able to make room in his mind for both his love for Maria and his military mission. By the end of the novel, just before he dies, his internal conflicts and tensions are resolved and he feels “integrated” into the world. Overall, Robert Jordan embodies many of the traits that are typical of Hemingway heroes: bravery, stoicism, and a sense of duty and honor. At the same time, his vulnerabilities and flaws make him a complex and compelling character, and help to illustrate the human cost of war.

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Northrop Frye's Archetypal Criticism

Hello readers! This blog is written in response to the thinking activity assigned by Dilip Barad sir, Department of English, MKBU. In this blog I am going to write about Northrope Frye's Archetypal Criticism. All the answers of the questions are generated from ChatGPT.

Northrop Frye

1) What is Archetypal Criticism?

Archetypal criticism is a type of literary criticism that examines the use of archetypes, or universal symbols and images, in works of literature. An archetype is a recurring pattern of images, characters, or events that is universally recognizable and resonates with the human experience. Archetypes can be found in myths, fairy tales, and religious texts, as well as in works of literature.

Archetypal criticism examines how authors use archetypes to create meaning and convey messages in their works. It also explores how archetypes reflect and shape cultural values and beliefs.

Some of the most common archetypes found in literature include the hero, the villain, the mentor, the trickster, the mother figure, and the journey. By examining how these archetypes are used in literature, archetypal critics seek to gain a deeper understanding of the themes, motifs, and symbols in a work and the cultural context in which it was created.

Archetypal criticism can be traced back to the work of Carl Jung, a Swiss psychologist who developed the concept of the collective unconscious, which refers to the shared, inherited reservoir of universal symbols and experiences that all humans share.

2) What is contribution of Northrop Frye in Archetypal Criticism?

Northrop Frye was a Canadian literary critic and theorist who made significant contributions to the field of archetypal criticism. He is best known for his book "Anatomy of Criticism," which presents a comprehensive theory of literary criticism based on the use of archetypes.

Frye argued that all literature is based on a set of underlying archetypes, which he referred to as "mythoi." These mythoi include themes such as the quest, the battle between good and evil, and the return. Frye believed that these mythoi were universal and could be found in all works of literature, regardless of their time period or cultural context.

Frye also developed a system of classification for literature based on the use of archetypes. He identified four main genres of literature: comedy, romance, tragedy, and irony. Each of these genres was defined by the types of archetypes they employed and the ways in which they resolved conflicts.

Another important contribution of Frye's to archetypal criticism was his focus on the relationship between literature and society. Frye argued that literature played a critical role in shaping cultural values and beliefs, and that archetypes were an essential tool for understanding the cultural context in which a work of literature was produced.

Overall, Frye's work helped to establish archetypal criticism as a major field of literary theory, and his ideas continue to be influential in literary studies today.

3) What do Archetypal critics do? Explain with examples.

Archetypal critics analyze works of literature by examining the use of archetypes, or universal symbols and images, within them. They seek to identify patterns of meaning and explore how these patterns reflect broader cultural values and beliefs. Here are some examples of what archetypal critics do:

1. Identify archetypes: Archetypal critics analyze a work of literature to identify the archetypes that the author uses. For example, in J.R.R. Tolkien's "The Lord of the Rings," the hero archetype is represented by Frodo, while the mentor archetype is represented by Gandalf.
2. Examine patterns of imagery: Archetypal critics examine patterns of imagery within a work of literature to identify recurring themes and motifs. For example, in William Golding's "Lord of the Flies," the image of the conch shell represents order and civilization, while the image of the "beast" represents the primal and savage nature of humanity.
3. Explore cultural context: Archetypal critics examine how the archetypes used in a work of literature reflect broader cultural values and beliefs. For example, in Joseph Conrad's "Heart of Darkness," the representation of Africa as a dark and primitive place reflects the colonialist attitudes of Conrad's time.
4. Identify genre conventions: Archetypal critics identify the archetypes that are commonly associated with specific genres of literature. For example, the hero's journey archetype is often used in fantasy and adventure novels, while the mother figure archetype is often used in family dramas.

Overall, archetypal critics seek to understand how the use of archetypes contributes to the meaning and interpretation of a work of literature, and how these archetypes reflect broader cultural and historical contexts.

4) Every organized body of knowledge can be learned progressively; and experience shows that there is also something progressive about the learning of literature. Our opening sentence has already got us into a semantic difficulty. Explain the semantic difficulty.

The semantic difficulty in the opening sentence is the use of the word "progressive." The word can have multiple meanings, including "continuously improving" or "favoring social or political reform or new, liberal ideas."

In this context, the sentence suggests that learning literature is a progressive process, meaning it can be learned and understood in a step-by-step manner. However, the second part of the sentence suggests that there is also something progressive about the learning of literature, which could imply that it involves adopting new or liberal ideas.

The sentence could be clearer if it used a more precise term, such as "sequential" or "gradual," to describe the process of learning literature. Alternatively, if the sentence is meant to suggest that the study of literature can lead to personal or social progress, then a different word choice or a clarification of terms would be helpful.

5) As above - "The relation of a Criticism to religion, when they deal with the same documents, is more complicated. In criticism, as in history the divine is always treated as human artifact. God for the critic, whether he finds him in paradise lost or the Bible, is character in human story." 

The passage suggests that the relationship between criticism and religion is complex when they deal with the same texts. In both criticism and history, the divine is viewed as a human creation or artifact rather than an objective reality. Thus, when critics analyze religious texts such as the Bible, they treat God as a character within a human story rather than as a transcendent or supernatural being.

This approach to religious texts may differ from the perspective of believers, who may view the divine as a real and active presence in their lives. However, from a critical perspective, the focus is on understanding the literary and cultural context in which religious texts were created, rather than accepting their claims of divine inspiration at face value.

The passage suggests that the role of the critic is to analyze religious texts as literary artifacts, examining their themes, symbols, and meanings within the context of human culture and history. This approach allows for a deeper understanding of the religious beliefs and practices of different cultures and historical periods, and can provide insights into the ways in which these beliefs have shaped human experience and society.

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'The Birthday Party' by Harold Pinter

Hello readers! This blog is written in response to a Thinking activity assigned by Bhatt Ma'am, English Department, MKBU. In this blog I am going to write about 'Comedy of Menace', characteristics of Comedy of Menace and the play 'The Birthday Party'.

'The Birthday Party' 

The Birthday Party (1957) is the second full-length play by Harold Pinter and one of Pinter’s best-known and most frequently performed plays. The play is actually the mingling of comedy with a perception of danger that pervades the whole play. The Birthday Party has been described as a comedy of menace because the consistent flow of fear and horror is symbolically presented in the characters mind. Pinter actually exposes the state of modern man and the idea of fear that exists in the human mind. Pinter characters struggle from the fear of society and the criticism of other people. The essence of the European Absurd theater finds a new dimension in the plays of Pinter. He has shown the inherent drawbacks and tension in the social life of today. His dramatic style and techniques have certainly given a novel direc­tion to the drama today. The theater with which are associated Samuel Beckett, Edward Albee, Jean Genet and Harold Pinter, the stage is invariably occupied by a few characters and each one of them expresses his ideas vehemently. 

Pinter has maintained that his plays are not intricate and are easy to grasp. He has denied the presence of any allegorical mean­ing in his plays. Brevity is the hallmark of Pinter’s dialogue which naturally gives rise to many shades of meaning. The reader of Pinter’s plays cannot always arrive at the exact meaning of the cryptic sentences, and one can draw many alternative ideas from them. Pinter’s plays have a suggestive power which is missing in the works of many contemporary dramatists. Language plays a significant role when it comes to the comedy of menace. It exposes the fear, frustration and violence of the characters through language. There are so many repetitions, sounds , pauses in the play 'The Birthday Party' that gives insights into the flow of characters' fear and menace and delve deeper into their inner space. The loss of identity is observed when the powerful characters attack the weaker characters for instance Stanley suffers from loss of identity when he is attacked verbally. Writer's technique of dialogues between characters has an undertone of violence and domination which is evident in the interrogation scene.

Harold Pinter 

Harold Pinter exploited the possibilities of this kind of situation in his early plays like "The Room", "Birthday Party" and "A Slight Ache", where both the characters and the audience face an atmosphere, apparently funny but actually having suggestiveness of some impending threat from outside. Pinter himself explained the situation thus: "more often than not the speech only seems to be funny - the man in question is actually fighting a battle for his life". He also said: Everything is funny until the horror of the human situation rises to the surface! Life is funny because it is based on illusions and self-deceptions, like Stanley’s dream of a world tour as a pianist, because it is built out of pretense.” In fact the play Birthday Party is built around the exchanges of words, which, though funny enough, contain hints that suggest the impending doom lurking around to them. The Birthday Party” has the effect of menace. From the very beginning till the end of the drama, there is lots of conversation between the characters like Mag, Nat Goldberg, Dermont McCann and Petey where Stanley stands for some countries which are silent or their voices are much damned, so that they could not argue against powerful nations like US, Germany, etc.

What is the Comedy of Menace?

Comedy = Humor

Menace = Threatening fear in mind

Comedy of menace is the body of plays written by David Campton, Nigel Dennis, N. F. Simpson, and Harold Pinter. The term was coined by drama critic Irving Wardle, who borrowed it from the subtitle of Campton's play The Lunatic View: A Comedy of Menace, in reviewing Pinter's and Campton's plays in Encore in 1958. The audience is made aware of some menace in the very midst of its laughter. The actual cause of menace is difficult to define: it may be because the audience feels an uncertainty and insecurity throughout the play.

The phrase “comedy of menace” as a standalone description inspires both positive and negative feelings. Comedy is used during a dangerous situation to cause audiences to draw judgments about a particular character or communication. The words used are the focus of often powerful stories that create conflicting emotions from its audience. The title “Comedy of Menace” immediately brings contradictions to mind, because comedy is generally something that makes people laugh, and the word "menace" implies something threatening. Quite literally, then, this phrase involves laughing at an ominous situation. Comedy of Menace’ is much different from sentimental comedy and anti-sentimental comedy. The comedy of menace is a tragedy with a number of comic elements. Some elements of comedy of menace; it is a comedy which also produces an overwhelming tragic effect. This feeling of menace establishes a strong connection between the character's predicament and the audience's personal anxieties. 'The Birthday Party' is best example of comedy of menace. Here i would like to share one scene from movie 'The Birthday Party'.

Here is characteristic of the Comedy of Menace:

• comedy of menace is a play in which the laughter of the audience in some or all situations is accompanied ,or immediately followed, by a feeling of some impending disaster.
• In Comedy of Menace two contradictory ideas are juxtaposed, meaning it contains two opposite ideas in a single form. For example in Tragicomedy there is tragedy and comedy also. So like Tragicomedy, Comedy of Menace are based on two contradictory forms of literature.
• In this kind of play one or more characters feel that they are threatened by some obscure and threatening force, power, personality and so on. Here fear and menace becomes a source of comedy.
• In this kind of plays ironical language is used to build dramatic tension and through it writers attempt to convey certain social or political ideas to the audience.

• It suggests that although they are funny, they are also frightening or menacing in a vague and undefined way. Even as they laugh, the audience is unsettled, ill at ease and uncomfortable.
• The menace evolves from actual violence in the play or from an underlying sense of violence throughout the play.
• It may develop from a feeling of uncertainty and insecurity. The audience may be made to feel that the security of the principal character, and even the audience’s own security, is threatened by some impending fear.
• Throughout the play we are kept amused and yet throughout the play we find ourselves also on the brink of terror. We feel uneasy all the time even when we are laughing or smiling with amusement. This dual quality gives the play a unique character.

It deals with an individual’s personal anxiety and with their understanding. In anti-sentimental comedy. This play is almost tragic because at the end of the play we are not getting any clue why it was happening but indirectly we are getting many things like the master-slave relationship, in which slaves could not speak and can’t express his or her idea.

In conclusion, we may say that the absurdity of the play which is represented through a menacing effect has its own symbolic significance. It tries to explain the human predicament in this indifferent and hostile world. Means Pinter shows us the reality of life, one of the major points of view about the play is Meaninglessness and nothingness of human existence and Life under constant shadow of fear and menace.

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