Assignment 103: Initial Exploration of Theme in ' Frankenstein.'

I'm writing this blog as a part of Assignment assign by our professor Dr. Dilip Barad, from English Department, MKBU. In this assignment, the topic which I'm going to deal with is, Initial Exploration of Themes in ' Frankenstein.'

■ Personal Information ■

Name: Unnati Baroliya 

Batch: M.A Sem 1( 2023-25)

Enrollment number: 5108230002

Email Address: unnatibaroliya@gmail.com 

Roll no: 32

■ Assignment details ■

Topic: Initial Exploration of the Themes in 'Frankenstein.'

Paper: Literature of the Romantics

Paper number: 103

Subject code: 22394

Submitted to: Smt. S. B Gardi Department of English M.K.B.U              

■ Points to Discuss ■

♧ Abstract 

♧ key words 

♧ Plot and Major Characters 

♧ Critical Reception 

♧ Frankenstein: Creation as Catastrophe 

♧ Alienation

♧ Romantic form and Nature

♧ Revenge

♧ Ambition and Fallibility Theme Analysis

♧ Lost Innocence

♧ Conversion from Natural Magic to Modern Science 

♧ Godlike Science/ Unhallowed Arts

♧ Conclusion 

♤ Let's dive deep into the Themes of Frankenstein by first looking over the brief idea about the novel. 

♧ Plot and Major Characters♧

Walton and his men convince him to board the ship, and the narrative shifts to the perspective of this man--Dr. Victor Frankenstein--as he recounts his life story to Walton. Frankenstein's childhood, in Geneva, is happy and privileged. Born to a distinguished family, his parents are kind and he enjoys the company of Elizabeth (his cousin in the 1818 edition of Frankenstein, adopted sister in the 1831 edition), and best friend, Henry.

                                      One day, alone on a glacier, Frankenstein is approached by the creature. The story switches to the creature's narrative as he explains to Frankenstein his descent into despair and rage. Rejected by his creator and without guidance, the monster attempts to do good, but is treated harshly by humans he encounters and begins to realize how very shunned and abhorred he is. Enraged, he curses his life, his creator, and mankind. When the creature discovers a boy in the woods, he hopes that the child might be young enough to be unprejudiced toward him, but the child responds to him with shrill screams. Upon realizing that the boy is Frankenstein's brother, the creature grasps his throat, strangling him. As the creature's narrative ends, he demands that Frankenstein make a companion for him, threatening to destroy Frankenstein if he refuses. Frankenstein reluctantly agrees. He departs for England, accompanied by Henry, to learn of any recent scientific developments. Frankenstein tells his father that the purpose of this trip is to see the world before settling down, and that he will marry Elizabeth upon returning to Geneva.

                         The creature follows Frankenstein to London, and then on to an isolated island in the Orkneys where Frankenstein has set up a workshop, having left Henry behind in Scotland. After half-completing the female creature, Frankenstein destroys her, fearing the consequences of completing her. The creature vows revenge, saying ominously, "I shall be with you on your wedding-night," and departs. Frankenstein disposes of all evidence of the workshop and female creature, and leaves the island. When he reaches land, he is accused of the murder of a man that has washed ashore. The murder victim is Henry--he has been strangled. Frankenstein, raving and feverish, is imprisoned but acquitted of the crime. He returns to Geneva and he and Elizabeth are quickly married. They sail to an inn in Evian and, minding the creature's ominous warning, Frankenstein suggests that Elizabeth retire to their room; meanwhile, he prowls the inn, watching for any sign of the creature. Hearing a scream, Frankenstein rushes to the room and is devastated to find that Elizabeth has been strangled. Frankenstein returns to Geneva, and after his father learns of Elizabeth's murder, he dies of grief. Frankenstein vows to kill the monster he has created. He pursues his progeny to the Arctic Circle, where he encounters Walton. The novel ends with a second set of letters written by Walton. Frankenstein, who had been ill and weakened from cold when found by Walton and his shipmates, deteriorates and dies. Later, Walton finds the creature in the room where Frankenstein lies in state. Walton regards the creature with anger and fear. The creature expresses his suffering, remorse, and self-loathing, and then departs, intending to die.

♧Critical Reception♧

Upon its publication, Frankenstein garnered commercial success as a Gothic novel, but critically it was for the most part condemned as sensationalist and gruesome. Some reviewers gave halting praise to the anonymous author's powerful imagination and descriptive abilities, while others openly questioned "his" sanity. Frankenstein was viewed as light reading and received scant attention as a serious work of literature until well into the twentieth century. In the mid-twentieth century, critics began to recognize the importance of Frankenstein as a cautionary tale on the dangers of scientific knowledge and now view it as a progenitor of science fiction. Students of both Shelleys find ample discussion fodder in the appearance of the Promethean myth in Percy's Prometheus Unbound and  in Frankenstein. 

                               Interpretations of the novel from biographical, psychological, sociopolitical, philosophical, and feminist perspectives have proliferated in recent years. Sources for and influences on the novel are another area of critical examination and have mentioned such respected works as Johann Wolfgang von Goethe's Faust and Samuel Taylor Coleridge's "Rime of the Ancient Mariner." While the novel has received growing respect, the author's esteem has remained qualified. In a detailed analysis published in 1987, Muriel Spark stated, "The point I wish to establish is, not that Mary Shelley excelled as a prose writer-I believe otherwise-but that where her comparatively utilitarian style is combined with an elaborate theme, her writing is distinctive." Commentators note that it is Frankenstein's ability to support a variety of readings that has inspired continuing critical attention. In a 1988 examination of the novel, Allene Stuart Phy remarked, "There seems no end in sight to the books and essays ... offering 'the true meaning' of Frankenstein" and asserted that Shelley "may well have written the most influential minor novel of all time in any language."

 ♧Creation as Catastrophe♧

As FRANKENSTEIN gets under way, we are lured by the promise of a new be- ginning: Walton's pathbreaking journey to the North Pole. Bound for Archangel to as- semble a crew, Walton is inspired by the cold northern wind to envision a perpetually warm and radiant paradise at the summit of the globe. To be there would be to capture the heavens in a glance, to tap earth's central power source, and to stand within the magic circle of the poets he once sought to emulate but whose sublimity he could not match. Such extravagance is easier to credit if we keep in mind the uneasiness it is intended to dispel: "There is something at work in my soul, which I do not understand". Perhaps for his own good, and certainly at the dramatically right moment, the quest found- ers somewhere in the frozen wastes between Archangel and the Pole, just where Walton is waylaid by Frankenstein, who is feverishly pursuing the path of the Creature's departure. It may be more accurate to say that the quest is deflected. For although Walton is relegated to the periphery of the fiction, ushering in and out a wondrous tale that preempts his own, he is profoundly implicated as well. The tale, of course, is a monitory example meant for him, but it is also a riddle of fate that means him: the mystery that he is and that becomes his by virtue of his fascinated participation in Frankenstein's story. 

                          In short, Walton is in the critical position, and nowhere is his situation better evidenced than at the end of the novel. Frankenstein, burdened by his tale's monstrous residue, concludes his narrtive by enjoining Walton to slay the Creature after his death. Yet the climactic encounter with the Creature unsettles everything even more and leaves Walton powerless to act. The final word and deed belong to the Creature, who vows to undo the scene of his creation once he bounds. from the ship: "I shall seek the most north- ern extremity of the globe; I shall collect my funeral pile. and consume to ashes this miserable frame, that it remains may afford no light. my ashes will be swept into the sea by the winds", To Walton, however, be- longs the burden of the mystery as he watches this self-destroying artifact vanish into darkness and distance and contemplates a catastrophe at the Pole.

                                      Mary Shelley might well have titled her novel
One Catastrophe after Another. For Franken-
stein, who is dubiously in love with his own
polymorphously disastrous history, the fateful
event to which every other catastrophe is postscript is the creation. According to
the archaic model implicit in his narrative,
transcendence is equivalent to transgression, and his presumptuous deed is invested with the aura of a primal sin against nature that somehow justifies the ensuing retributive bother. Condemned by nature's gods to limitless suffering, the aspiring hero learns his properly limited human place. Frankenstein, however, knows differently. A reading alert to the anti-Gothic novel Mary Shelley inscribes within her Gothic tale will discover that nothing is simple or single. The critical event is impossible to localize, terms. such as "justice" and "injustice" do not so much mean as undergo vicissitudes of meaning, and all the narrators are dispossessed of their authority over the text. As the central misreader, Frankenstein is the chief victim of the text's irony, the humor becoming particularly cruel whenever he thinks he is addressing the supernatural powers that oversee his destiny, for his invocatory ravings never fail to conjure up his own Creature. Indeed, the evacuation of spiritual presence from the world of the novel suggests that Frankenstein is more a house in ruins than the house divided that its best recent critics have shown it to be.

 ♧Alienation♧

Frankenstein suggests that social alienation is both the primary cause of evil and the punishment for it. The Monster explicitly says that his alienation from mankind has caused him to become a murderer: “My protectors had departed, and had broken the only link that held me to the world. For the first time the feelings of revenge and hatred filled my bosom.” His murders, however, only increase his alienation.

                            For Frankenstein, too, alienation causes him to make bad decisions and is also the punishment for those bad decisions. When Frankenstein creates the Monster he is working alone, in a “solitary chamber, or rather cell.” Being “solitary” has caused his ambition to grow dangerously, but this isolation is already its own punishment: his laboratory feels like a “cell.” Once he has created the Monster, Frankenstein becomes even more alienated from the people around him because he can’t tell anyone about his creation.

                           Both Frankenstein and the Monster compare themselves to the character of Satan in Paradise Lost: alienation from God is both Satan’s crime and his punishment. The novel presents the idea that alienation from other people is caused, at root, by alienation from oneself. Frankenstein’s father points out the link between self-hatred and alienation: “I know that while you are pleased with yourself, you will think of us with affection, and we shall hear regularly from you.” As long as a person feels they have self-worth, they’ll maintain contact with others. The Monster feels that he is alienated from human society because he looks monstrous. He first recognizes that he is ugly not through someone else’s judgement but through his own: “when I viewed myself in a transparent pool[…]I was filled with the bitterest sensations.”

                          At the end of the novel, with Frankenstein dead, the Monster is alone in the world. His alienation is complete, and so is his self-hatred: “You hate me; but your abhorrence cannot equal that with which I regard myself.” The ultimate consequence of alienation is self-destruction. Frankenstein drives himself to death chasing the Monster, while the Monster declares his intention to kill himself.

♧Romantic Forms and Nature♧

Although Mary Shelley's Frankenstein has begun to receive more critical attention now than it has in the past, and although two critics have recently examined its relationship to other Romantic literature, it has not been generally regarded as congruent in form with contempe contemporary Romantic works. Robert Kiely does discuss it in company with contemporary novels in The Romantic Novel in England but he is interested less in scrutinizing its form than in demonstrating a "dissonance" between what he sees as its two dominant themes. In his discussion, however, Kiely locates contradictory attitudes toward Frankenstein that, while they perhaps reflect Mary's own doubt toward Percy, raise an important critical question about the novel's true moral sympathies-is Frankenstein right or is the monster?

                           Romantic writers portrayed nature as the greatest and most perfect force in the universe. They used words like "sublime" (as Mary Shelley herself does in describing Mont Blanc in Frankenstein) to convey the unfathomable power and flawlessness of the natural world. In contrast, Victor describes people as "half made up." The implication is clear: human beings, weighed down by petty concerns and countless flaws such as vanity and prejudice, pale in comparison to nature's perfection.

                             It should come as no surprise, then, that crises and suffering result when, in Frankenstein, imperfect men disturb nature's perfection. Victor in his pride attempts to discover the "mysteries of creation," to "pioneer a new way" by penetrating the "citadel of nature." But just as a wave will take down even the strongest swimmer, nature prevails in the end and Victor is destroyed for his misguided attempt to manipulate its power.

 ♧ Revenge ♧

The monster begins its life with a warm, open heart. But after it is abandoned and mistreated first by Victor and then by the De Lacey family, the monster turns to revenge. The monster's actions are understandable: it has been hurt by the unfair rejection of a humanity that cannot see past its own prejudices, and in turn wants to hurt those who hurt it. As the monster says when Felix attacks it and flees with the rest of the De Lacey family, "...feelings of revenge and hatred filled my bosom...[and] I bent my mind towards injury and death." But in taking revenge, two things happen to the monster. First, it ensures that it will never be accepted in human society. Second, because by taking revenge the monster eliminates any hope of ever joining human society, which is what it really wants, revenge becomes the only thing it has. As the monster puts it, revenge became "dearer than light or food."

                                 Revenge does not just consume the monster, however. It also consumes Victor, the victim of the monster's revenge. After the monster murders Victor's relatives, Victor vows a "great and signal revenge on [the monster's] cursed head." In a sense then, the very human desire for revenge transforms both Victor and the monster into true monsters that have no feelings or desires beyond destroying their foe.

♧Ambition and Fallibility Theme Analysis ♧ 

Through Victor and Walton, Frankenstein portrays human beings as deeply ambitious, and yet also deeply flawed. Both Victor and Walton dream of transforming society and bringing glory to themselves through their scientific achievements. Yet their ambitions also make them fallible. Blinded by dreams of glory, they fail to consider the consequences of their actions. So while Victor turns himself into a god, a creator, by bringing his monster to life, this only highlights his fallibility when he is completely incapable of fulfilling the responsibilities that a creator has to its creation. Victor thinks he will be like a god, but ends up the father of a devil. Walton, at least, turns back from his quest to the North Pole before getting himself and his crew killed, but he does so with the angry conclusion that he has been robbed of glory. Neither Victor nor Walton ever escapes from their blinding ambitions, suggesting that all men, and particularly those who seek to raise themselves up in glory above the rest of society, are in fact rash and "unfashioned creatures" with "weak and faulty natures."

 ♧ Lost Innocence ♧

Frankenstein presents many examples of the corruption of youthful innocence. The most obvious case of lost innocence involves Victor. A young man on the edge of adulthood, Victor leaves for university with high hopes and lofty ambitions. He aims to explore "unknown powers" and enlighten all of humanity to the deepest "mysteries of creation," but his success and his pride brings an end to his innocence. He creates a monster that reflects back to him the many flaws inherent in his own species (an unquenchable thirst for love, a tendency toward violence, and a bloodthirsty need for justice and revenge) and in himself (prejudice based on appearance). And, in turn, Victor's cruel "un-innocent" behavior also destroys the monster's innocence.

Victor and the monster's losses of innocence ultimately lead to the deaths of William, Justine, Elizabeth, and Clerval, four characters whom the novel portrays as uniquely gentle, kind, and, above all, innocent. Through these murders, Shelley suggests that innocence is fleeting, and will always be either lost or destroyed by the harsh reality of human nature.

♧Conversion from Natural Magic to Modern Science ♧

Frankenstein gives an account of the first stage of the "conversion" from his enthusiasm for ancient occult philosophers to modern science, a "conversion" which hinges upon his experience of seeing an oak tree destroyed by lightning when he was fifteen years old. Here the word "conversion" within qualifying quotation marks for reasons that will become increasingly apparent as this analysis proceeds.

                             In the early 19th century, natural magic, rooted in witchcraft and mystical traditions, was still prevalent. Victor Frankenstein's early fascination with natural philosophy aligns with this mystical approach to understanding the world. His desire to unlock the secrets of life is reminiscent of alchemical pursuits, where practitioners sought to transform or create life through esoteric means.

                     However, as the novel progresses, Shelley highlights the emerging paradigm of modern science. Victor's experiments become more grounded in empirical methods and scientific principles, marking a shift away from the supernatural. The narrative emphasizes the consequences of this transition, as Victor's scientific ambitions lead to unintended and tragic outcomes.

              Shelley's portrayal of Victor's transformation reflects the societal changes occurring during the Industrial Revolution. The novel questions the ethical implications of unchecked scientific advancement and the potential dangers of divorcing scientific inquiry from moral considerations. In essence, "Frankenstein" serves as a cautionary tale about the evolving nature of scientific exploration during the 19th century, illustrating the perils of divorcing science from ethical responsibility. The transition from natural magic to modern science in the novel mirrors the broader shift in society's understanding of the natural world and the ethical responsibilities associated with scientific inquiry.

♧Godlike Science/Unhallowed Arts♧

Mary Shelly's Frankenstein continues to solicit and disturb us not only through its creation of a decisive image of gothic horror, but also by the pathos of a monsterism in doomed dialectic with nature and with culture. It is above all in the question of language, both as explicit theme of the novel and as implicit model of the novel's complex organization, that the problem of the monstrou is played out.

                              We might approach the network of issues dramatized in the novel first of all through the crucial scene of Victor Frankenstein's first interview with his monstrous creation, the interview which leads to the Monster's telling his tale to Frankenstein, the story-within-a-story (which is a story-within-a-story-within-a-story, when we consider the outer frame of the novel and the role of Robert Walton as initial and ultimate narrator). Following the first murders committed by his Monster-William strangled, Justine judicially done to death through maliciously falsified evidence-Frankenstein journeys to seek solace in the mountains above Chamonix. He penetrates into the "glorious presence-chamber of imperial Nature," climbs to Montanvert and the Mer de Glace, hoping to recapture a remembered effect of "a sublime ecstasy that gave wings to the soul, and allowed it to soar from the obscure world to light and joy." His ascension takes him to a "wonderful and stupendous scene," overlooking the Mer de Glace, facing the "awful majesty" of Mont Blanc; his heart once again opens to joy, and he exclaims, in the tones of the Ossianic bard, "Wandering spirits, if indeed ye wander, and do not rest in your narrow beds, allow me this faint happiness, or take me, as your companion, away from the joys of life" (p. 98). Whereupon a superhuman shape comes bounding over the ice. It is, of course, no spirit of the departed, and no beneficent spirit of nature, but the Monster himself, who has at last tracked down his creator and will force him into parley.

 ♧ Conclusion ♧

Certainly, In the conclusion of Mary Shelley's "Frankenstein," the narrative culminates in a tragic reckoning of the consequences stemming from Victor Frankenstein's unchecked scientific ambition. The novel delves into the complex interplay of themes such as the pursuit of knowledge, the isolation of the individual, and the ethical responsibilities that come with creation.

                         Victor's relentless pursuit of scientific advancement, driven by a desire to transcend the boundaries of mortality, leads to the creation of the Creature. However, the Creature's existence becomes a testament to the moral quandaries surrounding scientific innovation. Shelley challenges the reader to confront the ethical implications of playing god and wrestles with the notion of responsibility in the face of creation. The isolation experienced by both Victor and the Creature underscores the theme of alienation, illustrating the profound loneliness that arises from societal rejection. This isolation amplifies the tragedy, as it becomes a pervasive force, shaping the characters' destinies and contributing to the unfolding tragedy.

                           Furthermore, the blurred lines between creator and creation prompt reflection on the nature of humanity. Victor's initial rejection of the Creature and the subsequent tragic events raise questions about empathy, compassion, and the ethical considerations that accompany the act of bringing life into the world.  As the narrative concludes, the novel serves as a cautionary tale, urging readers to contemplate the moral dimensions of scientific progress. Shelley's exploration of the repercussions of unchecked ambition encourages a thoughtful examination of the ethical responsibilities inherent in scientific pursuits. "Frankenstein" thus leaves an indelible mark, challenging readers to grapple with the enduring relevance of its themes and the profound implications of humanity's quest for knowledge.  

♧ References ♧

• Sherwin, Paul. “Frankenstein: Creation as Catastrophe.”

 PMLA, vol. 96, no. 5, 1981, pp. 883–903.

 JSTOR, https://doi.org/10.2307/462130.

 Accessed 27 Nov. 2023.

• Cottom, Daniel. “Frankenstein and the Monster of Representation.”

 SubStance, vol. 9, no. 3, 1980, pp. 60–71.

 JSTOR, https://doi.org/10.2307/3683905. 

Accessed 27 Nov. 2023.

•  Schug, Charles. “The Romantic Form of Mary Shelley’s Frankenstein.”

 Studies in English Literature, 1500-1900, vol. 17, no. 4, 1977, pp. 607–19.

 JSTOR, https://doi.org/10.2307/450311.

 Accessed 27 Nov. 2023.

• Brooks, Peter. “Godlike Science/Unhallowed Arts: Language and Monstrosity in Frankenstein.”

 New Literary History, vol. 9, no. 3, 1978, pp. 591–605.

 JSTOR, https://doi.org/10.2307/468457.

 Accessed 27 Nov. 2023.

Assignment 101: Exploring Themes and Symbols in the play ' The Rover.'

I'm writing this blog as a part of Assignment assign by our professor Dr. Dilip Barad, from English Department, MKBU. In this assignment, the topic which I'm going to deal with is the 'Exploring Themes and Symbols in the play ' The Rover' by Aphra Behn.

■ Personal Information ■

Name: Unnati Baroliya 

Batch: M.A Sem 1( 2023-25)

Enrollment number: 5108230002

Email Address: unnatibaroliya@gmail.com 

Roll no: 32

■ Assignment details ■

Topic: Exploring Themes and Symbols in the play ' The Rover.'

Paper: Literature of the Elizabethan and Restoration Period.

Paper number: 101

Subject code: 22392

Submitted to: Smt. S. B Gardi Department of English Maharaj Krishnakumarshinghji Bhavnagar University 

                     ♧Table of content♧

♧ Abstract 

♧ About the Author   

♧ Introduction 

♧ key words

♧ Themes

♧ Symbols 

♧ Conclusion 

                      ♧About the Author♧

Aphra Behn, was born on 1640, Harbledown,  England and died in April 1689, London. She was an English dramatist, fiction writer, and poet who was the first Englishwoman known to earn her living by writing.

                                One tradition identifies Behn as the child known only as Ayfara or Aphra who traveled in the 1650s with a couple named Amis to Suriname, which was then an English possession. She was more likely the daughter of a barber, Bartholomew Johnson, who may or may not have sailed with her and the rest of her family to Suriname in 1663. She returned to England in 1664 and married a merchant named Behn; it is asumed that he might have died (or the couple separated) soon after. Her wit and talent brought her into the high esteem. she was employed by King Charles II in secret service in the Netherlands in 1666. Unrewarded and briefly improvised for debt, she began to write to support herself.

                                 Behn’s early works were tragicomedies in verse. In 1670 her first play, The Forc’d Marriage, was produced, and The Amorous Prince followed a year later. Many of these witty and vivacious comedies, notably The Rover (two parts, produced 1677 and 1681), were commercially successful.

                                  Though Behn wrote many plays, her fiction today draws more interest. Her short novel Oroonoko (1688) tells the story of an enslaved African prince whom Behn claimed to have known in South America. Its engagement with the themes of slavery, race, and gender, as well as its influence on the development of the English novel, helped to make it, by the turn of the 21st century, her best-known work.

                                   Behn’s output was immense; she wrote other popular works of fiction, and she often adapted works by older dramatists. She also wrote poetry, the bulk of which was collected in Poems upon Several Occasions, with A Voyage to the Island of Love (1684) and Lycidus; or, The Lover in Fashion (1688). Behn’s charm and generosity won her a wide circle of friends, and her relative freedom as a professional writer, as well as the subject matter of her works, made her the object of some scandal.        

♧Introduction♧

The Rover, comedy by Aphra Behn, produced and published in two parts in 1677 and 1681.

Set in Madrid and Naples during the exile of England’s King Charles II, the play depicts the adventures of a small group of English Cavaliers. The protagonist, the charming but irresponsible Willmore, may have been modeled on John Wilmot Rochester, a poet in the inner circle of Charles II.

                                      The Rover may at first give the impression of a simple enough period 

piece, and yet the multifaceted play tackles complex questions pertinent specifically to the 

role of the woman in the Restoration era but also generally to the human experience at any 

time. Behn demonstrates particular ingenuity in submitting to the popular taste of theatregoers at face value, yet at the same time cleverly subverting some of the conventions 

of Restoration comedy in order to express her critical views of society. On this note, Robert 

Markley summarizes that “Behn simultaneously deconstructs and idealizes the discourses of 

sexual and romantic love.

                                       Behn’s preoccupation with developing complex female characters, however, does not imply that she treats the women in her plays any more favourably than the men – quite the contrary, she takes care to get across her message that women can be just as debauched as men. Accordingly, it has been observed that Behn’s extravagant personality and dramatic oeuvre drew a disproportionately negative response perhaps simply as a point of 

hurt male pride, when “in retrospect, her real offence seems to have been the even-handedness of her comedy, where men are never ridiculed any less than women."

♧Key Words♧

● Love

● Deception

● Complexities of gender roles

● Fluidity of identity

● The Carnival atmosphere.

 ♧Themes♧

■ Love versus Lust

The theme of love versus lust touches every character in the play. Belvile and Florinda are chaste and virtuous lovers, biding in the strength of their emotional connection until they are able to be married.

On the other side, Willmore begins the play decrying emotional connection and seeking only the temporary pleasures of the flesh. Frederick, to a lesser extent, agrees with him. However, both come to respect the female characters in the play and agree to marriage by the end.Ckick here

Hellena is young and inexperienced, and questions what she wants and what love feels like. The play opens with her trying to extract this wisdom from her older sister, though with the opportunity of Carnival, she resolves to learn for herself. The play's youngest character, she nevertheless has the wit and ability to defend herself. She comes into the play as a virgin and manages to maintain that status throughout, despite the attentions of Willmore.

Angellica, by contrast, for all her skill in the physical realm of love, has never loved anyone romantically. She mentions this several times as a kind of virginity, no less than Hellena's.

■ Disguise

Irish author Oscar Wilde said "Man is least himself when he talks in his own person. Give him a mask, and he will tell you the truth." Much of The Rover's humor comes from mistaken identity as characters disguise themselves, impersonate others, and dress across gender. Disguise grants the characters a license to act as they wish, rather than as society expects them to. Hellena takes Carnival as an opportunity to flirt and love as she would never be able to as a proper Spanish lady. Characters also take advantage of their namelessly to peer candidly into situations they would otherwise not have access to, such as when Florinda tests Belvile's loyalty while disguised. There are more pointed deceits as well, such as Don Antonio sending Belvile to duel in his clothes to protect his honor. In addition, Lucetta pretends to be a noblewoman rather than a prostitute, and Hellena dresses herself as a male page to meddle with Willmore.

                                   Many times within the play, disguises fool even the closest familiarity. Don Pedro fails to recognize his own sister in a mask, with nearly tragic consequences. Lovers Belvile and Florinda become stressed when on several occasions they do not recognize each other in disguise.

                                   Notably, of all the characters, Willmore spends the least amount of time in disguise. He has little to hide. While he is a liar and a rake, he is also exactly who he is on the surface. Furthermore, he alone of all the characters sees through a disguise without the aid of some other clue. His ability to recognize Hellena is one of the signs they are well matched.

■ Women's Struggles

The female characters in The Rover constantly struggle against the constraints of their social roles. With the exception of Hellena, however, they do not stray too far from them. Though invested in social expectations, Florinda refuses to marry someone designated for her, and she conspires to escape her brother and her father in order to be with Belvile. Hellena, likewise, has no intention of taking her holy orders and living in a convent, and she says so with considerably less decorum than her sister. They commiserate together and encourage each Hellena urges Florinda, "come prithee be not sad—We'll out-wit twenty Brothers, if you'll be ruled by me." Despite being an older, respectable woman, she also wants to enjoy herself. 

                                  It is important to draw a distinction between the circumstances of a refined courtesan and a common whore, which may seem like a minor detail at first but in fact turns out to be instrumental in demonstrating the depth of the character of Angellica. As has been pointed out, "courtesans in early modern drama are figured as European, usually Italian, versions of the plain English whore", from whom they are distinguished in that they "look and behave like upper-class women", which in turn corresponds to the type of “clients they can attract with their particular beauty, location, and skills."

                                   Angellica represents a courtesan who appears to have weighed her options and deliberately decided to exploit to her advantage men’s particular weakness for sexual pleasure. While a common prostitute might be seen as demeaning, disrespecting, even dehumanizing herself, the courtesan Angellica contrives to elevate herself above the ethically precarious and often sordid nature of sexuality as a business transaction because she is the one who sets the rules and makes them non-negotiable. Angellica is aware of her value and requires a corresponding compensation, which is clearly established when Willmore attempts to purchase her services but lacks the funds, and no matter how insistently he pesters Angellica’s maid Moretta for admission, Moretta flatly refuses to haggle and turns him away as one would do with an impudent beggar, addressing him sharply: “We have no need of your doctrine, though you have of our charity: but at present we have no scraps, we can afford no kindness for God’s sake".

                                       Angellica provides a passionate defense that her profession as a prostitute is no worse than the mercenary way in which men investigate the size of women's dowries before deciding whom to marry. Yet she is looked down on for a financial concern that is judged normal in men. These women openly express opinions on their restrictive lot in life and take action to change it.

Hellena steps further outside traditional boundaries than the other characters. She pursues Willmore and declares that her choice of a romantic companion will be solely her decision. It does not matter to her if a man likes her if she does not like him. Hellena's unfeminine boldness—to the point of rudeness and is part of what charms Willmore. By the end of the play, she has gone so far as to present herself as a man. Her unwillingness to be ruled is presented as much of what makes her attractive.

 ♧Symbols♧

■ Carnival

Italian cities such as Venice and Naples (where The Rover takes place) were famed for their Carnivals, city-wide festivals during which many of the rules of ordinary life were provisionally suspended. Within the play, Carnival symbolizes a world of inverted values and freedom in which noblewomen can roam the streets and impoverished cavaliers can court them and win their hands. 

                                  Yet the world of the Carniva and the world without consequences, is not without its dark side. Predators such as Willmore and Blunt take advantage of the free-for-all atmosphere in order to accost and even assault women, while hostile men often end up dueling each other on the streets. In depicting both the positive and dark sides of Carnival, Behn is displaying both the comic and the troubling aspects of the topsy-turvy, consequence-free genre of Restoration Comedy.

■ Masks

Hellena, Florinda, and the cavaliers all use masks and disguises in order to plan and carry out their various connections. On a deeper level, however, masks represent the confusion of identity that takes place within this play. Willmore and Hellena fall in love without even knowing each other’s names. Belvile, meanwhile, repeatedly does not recognize Florinda even when she is right in front of him. Masks, therefore, are emblems of confusion and deception, and proof that identity is not as stable or singular as it seems.

                                    when the social order is upturned and rules are broken, the greatest subversive potential is manifested not by any of the figures disguised in costumes and masks but by Angellica, who significantly does not wear any. Although she makes herself publicly visible through her profession, even advertising her availability by displaying a portrait of herself in the street to attract potential customers, she keeps the purity of her character intact.

                                       Left heartbroken by Willmore, she laments the loss of her innocence and honour, which are again curiously selected qualities to be associated with a prostitute: “Had I remained in innocent security, / I should have thought all men were born my slaves, / . . . / But when love held the mirror, the undeceiving glass / Reflected all the weakness of my soul, and made me know / My richest treasure being lost, my honour” (Behn). Here and elsewhere, Angellica not only challenges conventional expectations but above all cleverly subverts traditional morality, according to which a woman’s honour and innocence are based solely on whether or not she is chaste of body. Angellica sees herself as having been deprived of her innocence because she was never in love before and because she trusted Willmore’s honourable word, which turned out to be false, as the rover dispenses the same promises to any woman he chances on.

■ Angelica’s Picture

Every day, Angelica commands her servants to display pictures of herself in front of her house, so all the citizens of Naples can admire her beauty. Once she falls in love with Willmore, however, she ended to do so. These pictures represent not only her vanity, but also her sense of self. The prostitute stops displaying them because she has fully given herself to Willmore and so is no longer “giving herself” to anyone else through taking a disastrous decision, as she soon learns. Her picture being insulted by Willmore is symbolic of the fate she is going to meet in her affair with Willmore.

■ Swords

Throughout The Rover, swords are associated with ruggedness, virility, and power. Belvile is a true man in part because of his skill with a sword. Much of Blunt’s humiliation comes from being robbed of his sword, and then being forced to wear a rusty one. At one point the cavaliers and Don Pedro draw their swords, and much is made of the fact that Pedro’s Spanish blade is longer than their English swords. Willmore, in particular, often uses swordplay as a metaphor for intercourse. The connection between masculinity and violence is a traditional but disturbing one, and Behn takes care to show the consequences of such a belligerent and dangerous atmosphere.

♧Conclusion♧ 

In Aphra Behn's "The Rover," the theme of love is intricately woven into the fabric of the play. The characters grapple with the complexities of romantic relationships, exploring the contrast between physical desire and genuine emotional connection. Behn delves into the societal expectations placed on individuals, particularly women, in matters of love, revealing the tension between personal desires and external pressures.

                                    Aphra Behn, a Restoration playwright of unprecedented success, lived by her pen and therefore was obliged to conform to the other literary production of that time (written mostly by men): comedies featuring libertines, coarse morals, debauchery and fortune-hunting protagonists. Behn wrote in this manner, yet adding a satirical spin to her work, by presenting the character of Angellica Bianca, a prostitute (actually a very ladylike companion to older wealthy men). Paradoxically, Angellica is presented as the most upright and generous person among the cast; lamentably, she believes in oaths, of which Wilmore, the double-dealing eponymous rover of the play, cures her mercilessly and swiftly, as soon as he meets a virgin, who comes with a large fortune attached. By this, Behn introduces a dark undercurrent to an ostensibly comic play. This paper pays homage to the elaborate ways Aphra Behn employed to present a prostitute as the most intriguing character of the play.

                                    The carnival setting serves as a symbolic space where characters temporarily escape the constraints of society. This backdrop allows for a heightened sense of freedom and hedonism, reflecting the characters' desires to break free from societal norms. The transient nature of the carnival becomes a metaphor for the fleeting nature of love and passion, highlighting the impermanence of relationships. Masks and disguises are employed as powerful symbols, emphasizing the fluidity of identity and the facade that individuals present to the world. Characters engage in role-playing, blurring the lines between reality and illusion. This not only adds a layer of intrigue to the plot but also serves as a commentary on the performative nature of societal roles and expectations.

                                Furthermore, Behn explores gender roles, challenging traditional notions of femininity and masculinity. The female characters, in particular, exhibit agency and assertiveness, defying societal norms of passivity. This challenges the audience to reconsider preconceived notions about gender dynamics in the context of the play. In essence, Aphra Behn's use of these themes and symbols in "The Rover" goes beyond mere storytelling. It provides a nuanced exploration of human relationships, societal expectations, and the fluidity of identity. Through rich character development and symbolic elements, Behn crafts a narrative that invites audiences to reflect on the complexities of love, desire, and the intricacies of navigating societal norms.(ChatGPT)

♧Refrences♧

• Dinter, Martin T.

“(PDF) A prostitute as the unsung heroine in Aphra Behn's The Rover.” ResearchGate, https://www.researchgate.net/publication/366486456_

A_prostitute_as_the_unsung_heroine_in_Aphra_Behn's_The_Rover.

 Accessed 27 November 2023.

•  Franceschina, John.

 “Shadow and Substance in Aphra Behn’s ‘The Rover’: The Semiotics of Restoration Performance.”

 Restoration: Studies in English Literary Culture, 1660-1700, vol. 19, no. 1, 1995, pp. 29–42.

 JSTOR, http://www.jstor.org/stable/43293595. Acc.

•  Drougge, Helga.

“‘We’ll Learn That of the Men’: Female Sexuality in Southerne’s Comedies.”

 Studies in English Literature, 1500-1900, vol. 33, no. 3, 1993, pp. 545–63.

 JSTOR, https://doi.org/10.2307/451013. Accessed 27 Nov. 2023.

• Wilde, Oscar. “The Rover Themes.” Course Hero, https://www.coursehero.com/lit/The-Rover/themes/.

 Accessed 27 November 2023.

31st Youth Festival-2023

Today in thise blog I'll be sharing the experience about the youth festival of (MKBU) and some of my observations.

The 31st Youth Festival of Maharaja krushnakumarsinhji Bhavnagar University, i.e  "Manbhavan Yuvak Mahotsav," from November 3rd to 5th, 2023, and this time the central theme of the Youth Festival was "Nari Shakti Vandana", inspired by the recently passed Nari Shakti Vandana bill in Parliament. Women from various fields were complimented and many students participated in the festival, with majority of them were girls, personifying the essence of Nari Shakti Vandana.

                               The festival featured a total of 32 competitions organized under five sections, including Literature, Music, Fine Arts, Dance, and Theatre.

Themes represented in various tableaux of Kala-Yatra

👉Chandrayaan:
                                   The three days significantly highlighted the contribution of Chandrayaan. The event covered various aspects, including the involvement of women, references to history, and the representation of India's various Space mission. All these were associated with theme of "Narishakti Vandana" and celebrated the Nari Shakti Puraskar. The theme also explored the contributions of ancient munis, ISRO, Ras Garba, and emphasized the importance of various cultures. 

👉Narishakti Vandana:

                           This theme was about the worshiping of nine goddess avatars, encapsulated in the phrase "Navdurga rupe samprat narishakti ne vandan."

👉Women: Oppression to Freedom:

                                      The Department of English demonstrated these theme of women from traditional roles to modern ones. It covered various aspects, including the dreams of individuals like Govalan, the endurance of child marriage, the challenging lives of worker women, the expectations of a Panihari, and the unvalues struggles of mothers and wives. The theme also portrayed dark life and societal repression.

                             Then the women challenging traditional roles and breaking societal chain to excel in different area such as business, law, engineering, sports, the navy, dance, medicine, journalism, and more. The equiped women in these fields also worked towards uplifting those suppressed by society.

                                 It was a pleasure Watching the participants practicing for Kalayatra, under the guidance of our teachers the students of our department could get various ideas and topics. Various activities such as writing slogans, preparing cardboard, arranging costumes, collecting props, acting, painting faces and many more things contributed for the final outcome. Thise yatra became successful only because of the guidance of Alpa ma'am.

👉Mobile's Disadvantages:

                             Where we see the mobile phones offering numerous advantages, their misuse has become a concern. Incidents of suicide and accidents due to mobile addiction were highlighted, weighing the need for controllable utilization. 

  

                            Okay so let's take an advantage of this mobile phone by watching all the various KALAYATRA on the link given below👇

 One Act Play : 

👉Kashmir Crisis: Modern Tragicomedy

👉Laxmi: Classical Tragedy

👉Vat Ek Vyathani: Anti-Sentimental Comedy

👉Ene Nahi to Mele: Comedy of Manners

👉Jo Guzar Na Saki Wo Zindagi Humne Guzari Hai: Social Drama

👉Meran :Modern Tragicomedy

👉Mahamrutyunjay: Classical Tragedy

👉Christy Brown: Bollywoodish Performance

● Mime:

Mime, a captivating theatrical technique, involves expressing ideas, moods, or portraying characters solely through gestures and bodily movements, all without the need for words. This time the themes are as follows:


👉 Charan Kanya

👉Women Empowerment

👉Para Olympics

👉 The Importance of Outdoor Games Over Mobile Games

👉Achievements of India in Various Sectors

                                   one of the mime had the narration of the story in such a way that how male dominance ruled over women, and subsequently, how women find their voice and empowerment. Thise engaged the portrayal to shed light on the challenges faced by women 

and the authorizing journey toward finding their existence.

■ Poetry Recitation :

                                 This competition have the rule that the Participants are given on the spot topic and they have to write and recite it in front of everyone present their. The given subjects were:

1. ઉમ્મીદ 

2. સમરણની કેડીએ 

3. જે કર જુલાવે પરણું 

4. મેરી માટી મેરા દેશ 

5. બાળપણ

                               One of my senior Upasna from department of English also participated in it. Most of the metaphors used are connected to the given subjects. The themes were pre-assigned, so a majority of the participants wrote on the 'ઉમ્મીદ' subject.

■ On-the Spot Painting :

                                  'ઉત્સવોની ઉજાવણી, નારશક્તિને વંદન,( Celebration of Festivity, Salutations to Women Power)' this was the theme of painting and Hina again one of my senior from our department has participated. Some of the paintings are:

■ On-the Spot Photography:

                                 "આજની નારી" (Today's Woman), યુથ ફેસ્ટિવલ 2023, and "કુદરતની સંગાથે" (In Harmony with Nature) thise were the topics for the photography. One of my friend Bhumi from our department also participated in it.     

       

    

                             

                                   Cartooning is well defined from painting. It urge a keen sense of comic side. A well pursuit tag line is the eye of a cartoon, and the magnified figures play a key role in culminating the pessimistic details. Designing a cartoon needs a blend of imaginative skill, cleverness and the ability to emphasized elements for a sarcastic impact. One of my friend dhatri secured 2nd position in Cartooning. And that was the proud moment for our Department. 

■ Sugam Geet: 

                                 The topic of thise song are mentioned below.

                 

●"પાનેતર પેહરાવો, કંકુ છાંટીને." 

●"આપણા જીવતરની આપણી જ વાતોમા."

● ઠોકરની સાથે લગતાં જો નામ લેવાય છે ઈશ્વરનું."

● "વેદના તો અડીખમ કંથાર, છતા આવતાં જુવાળ ભલે કોતરે." 

●"કુંચી આપો બૈજી."

● "કૃષ્ણ તારી બંસરી વહાલી લાગે મને."

                                  Aagin one of my calssmate Hardi from our department participated in it along with the other participants. 

■Elocution:

                                   The topics for the Elocution competition are;

● આર્ટિફિશિયલ ઇન્ટેલિજન્સ: કેટલું પડકારજનક?
● યત્રા નર્યાત્સુ પૂજ્યંતે
● ચાલો વૃધ્ધાશ્રમ ઘટાડીએ
● પર્યાવરણ અને માનવ: એક સિક્કાની બે બાજુ
 

                                    In which one of my senior Trushali also had participated in it. 
           

                                  And there were many other competitions too like Mehandi competition in which I just supported one of my senior Bhavyta by giving my hand for preforming her art on it. Their while sitting I was observing others art work also. One thing that captivate my attention was that, their was only a boy among all the girls. Like usually what we see or found is, there are only girls who are good at such artistic skills but that's not so. He beautifully showed his artistic designs. And yes, I would like to show  some of my memories from this competition.

  Their were many other events to which would fill an individual specially to the youth with lot's of energy and enthusiasm. 

                                    Some great personalities like Niren Bhatt, Dilipsinhji Gohil and other esteemed EC members were also their at the last day of the ceremony. The excitement among the students was amazing as their hard work and dedication was about to get appropriated in front of everyone. As the names were being announced  the winners proudly received their medals and certificates.

                                   Swami Sahjanand Cluster of College won the reputable General Championship and The KPES College became the runners-up for the 2023 youth festival. It was the moment of pleasure for me as well when by friends( Dhatri and Trushali) were called upon the stage for recieveing their medals in Cartooning and in Rangoli competition respectively. 

                                 Reflecting on these three days, as an individual it was greatly filled with lots of learning, overflowed with experiences . The Youth Festival is all about the celebration for the youth and our university,                     Mahraja Krishnanakumarsinhji Bhavnagar University, distribute as an amazing platform for students to show their artistic creativity. And there was a great happiness in our English Department among the participants, volunteers and students let me show some of the glimpse of our happy times.

Due to some reasons I was not able to attend all the functions or events all these days but yes I have tried to collect as much as I can through various multimedia platforms and yes my friends too who time and again kept me updated with all the events happening in thise festival. 

   

                        

"Importance of Being Earnest" by Oscar Wilde

Hello everyone today in these blog I'm going to discuss about some questions of the play 'Importance of being Earnest' by Oscar Wilde. 

👉Wilde originally subtitled The Importance of Being Earnest "A Serious Comedy for Trivial People" but changed that to "A Trivial Comedy for Serious People" what is the difference between two subtitles?

                              "A serious comedy for trivial people": In the original subtitle, Wilde suggests that the play is a serious comedy, meaning that it is humorous but with underlying themes or messages that are meant for people who might be considered trivial. It implies that the play has depth beneath its humor and is intended for those who might not take life too seriously.

                                 "A trivial comedy for serious people": In the revised subtitle, the focus shifts. It suggests that the play is a trivial comedy, meaning it may appear light and frivolous on the surface, but it is meant for a more serious or sophisticated audience. This subtitle highlights the clever wit and satire within the play, catering to those who can appreciate the humor with a deeper, more serious understanding.

                                 The change in subtitle emphasizes the contrast between the surface comedy and the underlying cleverness and satire of the play and how it's tailored for its audience

👉Which of the female character is the most attractive to you among lady Augusta Bracknell, Gwendolyn Fairfax, cecily Cardew and Miss Prism? Give your reason for her being the most attractive among all.

                                   In "The Importance of Being Earnest" by Oscar Wilde, each of these female characters has her own unique qualities and characteristics. It's up to individual readers or viewers to determine which character they find most attractive based on their own preferences. Wilde's play often satirizes the superficiality and social norms of the time, so attractiveness in the story is often depicted as a complex and sometimes comical matter.

                                  Looking from my perspective I personally found Gwendolen Fairfax is described as a very attractive character. She is depicted as fashionable, poised, and witty, and her beauty is emphasized in the play. However, it's essential to remember that her attractiveness is not just physical but also tied to her character and personality traits. Different readers or viewers may find different aspects of her character appealing, whether it's her looks, her wit, or her confidence. Ultimately, attractiveness is subjective, and it varies from person to person.

                                   Gwendolen Fairfax, a character in Oscar Wilde's "The Importance of Being Earnest," is known for her distinct personality traits. Here are some key characteristics that define her:

                                 Gwendolen is portrayed as a lady of grace and elegance. She carries herself with a sense of sophistication and high social standing. Gwendolen is quick-witted and known for her sharp and clever remarks. She engages in witty banter, especially with Cecily.

                                    She is determined and strong-willed, especially when it comes to her desire to marry a man named "Ernest."

 She is a romantic at heart and believes that a man named Ernest is the only acceptable suitor for her. This unwavering devotion to the name "Ernest" is a central comedic element in the play.

                                  Gwendolen is mindful of social conventions and the importance of appearances. She values the idea of marrying someone with the right name and social status. She exudes confidence and self-assuredness, which is a significant part of her character's appeal. She is not afraid to express her feelings and desires, even if it means confronting her mother, Lady Bracknell.

                                     Gwendolen's character is complex and adds depth to the comedy and satire in the play. Her strong personality traits contribute to the humor and social commentary in "The Importance of Being Earnest."

👉The play repeatedly mocks Victorian traditions and Social customs, marriage and the pursuit of love in particular. Through which situation and characters is this happening in the play?

                               

                                   In this play, the character Algernon Moncrieff adopts the fictitious persona of "Ernest" to escape his social obligations and court Gwendolen Fairfax. On the other hand, John Worthing, also known as "Ernest," pretends to have a wayward brother to escape his responsibilities in the country and court Cecily Cardew. This play humorously explores Victorian traditions, social customs, and the pursuit of love by portraying these characters and their situations. Marriage is a central theme as both men aim to marry the women they love, but their deceptions create comical situations and comment on the superficiality of societal norms in the Victorian era.

👉Queer scholars have argued that the themes of duplicity and ambivalence are Inextricably bond up with Wilde's homosexuality and that the play exhibits a "flickering presence- absence of homosexual desire". Do you agree with this observation? Give your argument to justify your stance.

                             

                                        Yes, there are indeed observations of homosexuality and a "flickering presence-absence of homosexual desire" in Oscar Wilde's play "The Importance of Being Earnest." While the play does not explicitly address homosexuality, Wilde's personal life and the subtext within the play have led scholars and critics to make such interpretations. Here are a few elements that can be seen as supporting this observation:

                                   Oscar Wilde was an openly gay man, and his personal experiences and identity undoubtedly influenced his writing. He often used humor and satire to comment on the societal norms and constraints of his time, which included the suppression of homosexuality.

                                 In "The Importance of Being Earnest," there are close, sometimes intense, relationships between male characters, such as Algernon and Jack. Their interactions, witty banter, and the importance of their friendships in the play can be seen as having elements of homoeroticism.

 

                                 The play features characters like Cecily and Gwendolen who are strong-willed and independent, while the male characters sometimes display more traditionally feminine qualities. These role reversals can be interpreted as a commentary on gender and sexual identity.Wilde's use of double entendre and witty dialogue often carries sexual undertones. While not explicitly addressing homosexuality, this wordplay and innuendo can be seen as a way for Wilde to explore desire and attraction.

It's important to note that these interpretations are subject to debate and may vary among scholars and audiences. While "The Importance of Being Earnest" doesn't openly discuss homosexuality, it is a play rich in subtext and social commentary, and these elements contribute to the complexity of its characters and relationships.

👉 Various movie and radio adaptions of this play. Write your critique on various adaptations of this play.

Certainly, here are a few adaptations in different media:

1986 TV Movie:

This TV movie adaptation directed by Stuart Burge features British actor Paul McGann as Jack Worthing.

It maintains the original setting and witty dialogue, making it a faithful representation of the play.

Theater Productions:

Numerous stage productions of the play have been mounted around the world, featuring different actors and interpretations.

Each live performance brings its own unique flair to the characters and setting.

Audio Books:

There are audio book versions of "The Importance of Being Earnest" narrated by talented actors, offering a convenient way to enjoy the play on the go.

Podcast Adaptations:

Some podcasts have adapted the play, often adding a contemporary or unique twist to the story, making it more accessible to modern audiences.

Graphic Novels:

A graphic novel adaptation by artist P. Craig Russell offers a visual interpretation of the play's characters and dialogue.

                                      These adaptations across various media showcase the enduring appeal of Oscar Wilde's witty comedy and allow audiences to experience "The Importance of Being Earnest" in different formats, catering to different tastes and preferences.

Below I'm sharing some adaptations which would help you to understand more.

Thank you.🌻