Major Writers of Indian Writing in English

Name:- Hetal Dabhi
Sem:-1
Paper-4       Indian Writing in English

                    Major Writers of Indian Writing in English

Raja Rao
                     Raja Rao is one of the greatest Indian novelists writing in the English language. Only two others Mulk Raj Anad and R.K Narayan come any where near him.  Though a close contemporary of these two stalwarts, he is entirely different from them in his art as a novelist, and in his enchanting prose style. This pre-eminence is surprising when we remember that the bulk of his published work is small. He has to his credit a collection of short stories, The cow of the Barricades and other stories, (1947), Kanthapura 1938, The Serpent and the Rope, 1960, and The Cat and Shakespeare , 1965. His published work hardly covers one thousand pages, and he yet he placed the Indo-Anglian nevel on the world map, and has achieved international fame and recognition.  For his The Serpent and the Rope he won the Sahitya Akadami Awarded to him in 1969 by the president of India. World attention was at once focuses on it, and it was prised as a really magnificent achievement, and regarded as a great honour to English literature by eminent critics like Lawrence Durrell.
 Raja Rao works divides itself easily into two part of categories. First, there are the works of the early period consisting  of the short stories written in France  and published in 1947 as The Cow of the Barricades and other Stories, and Kanthapura also written in French and published in after a long silence of twenty two years, and The Cat and Shakespeare, 1965. Many of the short stories which he contributed from time to various magazines and journals  have been lost , but a few of them have been published recently (1978) as The Policeman and the Rose and other stories. His earlier and later work show as a whole one wonders at the amazing,  range of life as well as the leaves of consciousness he has brought into the form, along with the creation of a suitable medium for his concern which are at once timeless and temporal , metaphysical and social, immediately local but also international, so as to enlarge the frontiers of the fictional form  itself and justify the name of an innovator in modern Indian fictional form itself and justify the name of an innovator in modern Indian fiction which, thanks largely to him, more than any other single writer, has been ushered into the mainstream of twentieth century literature.
His early work displays the social and political concern of the 1930.  In his early short stories, janvi and Akkyya  symbolise the silent heroism and selfless sacrifice of Indian womanhood . Raja Rao here highlights the wretched plight of the Hindu widow and other under-dogs of society. In the cow of the barricades , says Srinivas Iyengar , mother of cow gaint and silent tears are symbolic of the mothers genius for surviving her sorrows and transmusing them into the heart of darkness which nevertheless holds promise of the dawn. The story , because of its topic treatment . And what gives distinction to it is the sensibility of a master , here an Indian writers who his art as a Short story writers is yet to receive full recognition and appreciation . Certainly it cannot be dismissed as a mere foil to his fiction , not worth much by itself , as Uma Parameswaran tends to do.
His first novel Kanthapura is a classic of the Gandhian movement, a work in which the Gandhian struggle for independence and its impact on the Indian masses finds its best and fullest expression. It is also a great village novel with the various faces of the village life, with its socioeconomic divisions superstition religious and caste prejudice , blind faith, in gods and goddesses , poverty, pitty jealousies , dirty lanes, shady gardens, snake-infests , dirty pools, hills , revers and changes  reasons Kanthapura is a microcosm of the macrocosm; it is Indian in miniature . The novelist style of narration makes it a Ghandhipuran or a Ghandhi epic . The novelis style to the movment of a Sanskrit sentence . His style has the flavour of Kannada speech, and its rhythms are almost incantatory, the rhythms  of  Sanskrit, a language which is the source of Indian language which is the source of Indian language. The evolution of a suitable style for the expression of Indian  sensibility is Raja Rao most significant contribution to the Indo-Anglian fiction.
Literature  as Sadhna: The Long Gap
Judge by any standard , Kanthapura is a major achievement but Raja Rao himself considered and it confused and immature. Kanthapura was published in 1938, and after that there was a long silence till 1960,when he came out with his  The Serpent and the Rope. In an interview , published in the Illustration weekly of Indian in January 1964, Raja Rao said : For me literature is sadhana –not a profession but a vocation . This was so even when he wrote Kanthapura , but he was then a confuse and last person . And that was why he give up writing for a long time . Then after he had met his guru.  Sri Atmananda ,
Art of narration
The art of Raja Rao shows a steady progression from Kanthapura to the Cat and Shakespeare . He is constantly changing, growing and becoming different . There is a constant evolution of his art and technique . Take , for example his art of narration is gossipy and chatty, she is garrulous and there are numerous digressions and episodes. There is must that is superfluous. She is a simple unlettered grandmother, and her narrative style is the novels crowing charm as also the greatest threat to its success. It is in the traditional Indian style of oral story telling . Facts and fiction , poetry  and reality of the Gandhian freedom movement is imparted legendary or  puranic  dimensions. The narration is chronological, despite the too frequent digressions and episodes . Occasional touches of irony , or racy ,native humour enliven the narrative.

Coleridge's view on prose,poem and poetry

Literary theory and Criticism from Hetaldabhi2

The Fakeer of Jungheer is a matrical tale

Indian writing in english from Hetaldabhi2

Swift's principle objects of satire in Gulliver's Travels

The Neo-classical leterature from Hetaldabhi2

Milton's Style

The Renaissance Literature from Hetaldabhi2

Renaissance Literature

Ben Johnson

        Benjamin Jonson was an English playwright, poet, actor, and literary critic, whose artistry exerted a lasting impact upon English poetry and stage comedy. He popularised the comedy of humours.

His major works 

⬛️ A Tale of a Tub

⬛️Volpone of a Tub

⬛️The Masque of Blackness

⬛️Volpone 

⬛️The Alchemist 

⬛️Bartholomew Fair 

Here is some famous works in brief 

⬛️ A Tale of a Tub 

           A Tale of a Tub (play) A Tale of a Tub is a Caroline era stage play, a comedy written by Ben Jonson. The last of his plays to be staged during his lifetime, A Tale of a Tub was performed in 1633 and published in 1640 in the second folio of Jonson's works.

            Although it was questioned sharply by W. W. Greg, the idea that A Tale of A Tub is Jonson's earliest surviving play, antedating even The Case Is Altered, seems to have acquired the status of a fact. Collier was the first to query its chronological position in the posthumous Second Folio of 1640, where it appears between The Magnetic Lady and the unfinished pastoral The Sad Shepherd as Jonson's last complete play. Jonson's Oxford editors, however, are really responsible for what has become widespread acceptance of the notion that, although the dramatist tinkered with this piece of ‘juvenilia’ in the early 1630s in order to make it accommodate a satire on Inigo Jones, and although its first known performance was by Queen Henrietta's Men at The Cockpit in 1633, it should be assigned substantially to the beginning of his career as a dramatist, probably about 1596. In support of this contention, Herford and Simpson point to what they see as two distinct verse styles in the comedy, one Elizabethan and the other typical of late Jonson, the supposedly colourless nature of the characters, and ‘Archaism carried to a point where the allusions would hardly be intelligible in 1633’ (H. & S., vol. IX, p. 275).

In fact, this charming and unjustly neglected play makes sense only when read – in its entirety – as a Caroline work.

⬛️Volpone 

            In the first few scenes of the play, the audience is treated to a display of Volpone's confidence game. First, the lawyer Voltore comes in and presents Volpone with an 'antique plate bought of St. Mark.' To Volpone's face, Voltore wishes 'Would to heaven, I could as well give health to you, as that plate!' Then, privately to Mosca he says, 'Am I inscribed his heir for certain?' Mosca promises him that he is, prompting Voltore to continue, 'But am I sole heir?' Mosca assure him that he is, and he responds 'Happy, happy, me!'

        Next, Corbaccio enters. Not only does Mosca accept a bag of cecchines (valuable coins) from Corbaccio, he also convinces Corbaccio to disinherit his son, Bonario, and name Volpone heir to his estate. Corbaccio agrees to this under the reasoning that sick Volpone will die long before him, so he will actually be doing his son a favor. In reality, Mosca informs the audience that Corbaccio is actually 'more impotent than this [Volpone] can feign to be.'

               Finally, Corvino, a merchant, brings Volpone a diamond and a pearl. When he's gone, the discussion between Volpone and Mosca turns to Corvino's wife, Celia. Mosca informs Volpone that she is the most beautiful woman in Italy. Volpone's covetousness turns suddenly from Corvino's property to Corvino's wife, and he decides that he must see her. He disguises himself as a mountebank - a quack doctor who puts on a show to sell useless medicines - named Scoto of Mantua and performs a medicine show beneath Celia's window.

           Celia drops her handkerchief from her window to make a purchase from the mountebank (who is actually Volpone of course). But then, her husband, Corvino, comes out in a rage. He accuses Scoto of Mantua (not knowing he is Volpone) of trying to cuckold him. The audience sees for the first time here that Corvino is an extremely jealous man and very possessive of Celia.

               In the next scene, Volpone confesses to Mosca that he is in love with Celia. 'Angry Cupid, bolting from her eyes, hath shot himself into me like a flame.' He then asks Mosca to help him steal Corvino's wife! Mosca devises a plan for this. He goes to Corvino and tells him that Scoto of Mantua's oil has cured Volpone. The final part of the doctor's plans, Mosca tells him, is to find a beautiful woman for Volpone to sleep with in order to 'warm his blood.' Still eager to be the heir in Volpone's will, Corvino offers up his own wife: 'the party you wot of shall be my own wife, Mosca.'

Coleridge

Coleridge

         

Samuel Taylor Coleridge was an English poet, literary critic, philosopher and theologian who, with his friend William Wordsworth, was a founder of the Romantic Movement in England and a member of the Lake Poets.






⬛️ Different between poem and prose






Coleridge says that a poem contains the elements as a prosecomposition. Both of them use words.so there is no difference between a poem and a prosecomposition. In this respect ,coleridge says – “A poem contains the same elements as a prosecomposition.” But one difference is to be noticed here






The divisions between poetry and prose aren't clear-cut, but here are some generally accepted differences. The language of prose is typically straightforward without much decoration. Ideas are contained in sentences that are arranged into paragraphs. There are no line breaks.






⬛️Different between poem and poetry






Poem

A poem is the arrangement of words that contain meaning and musical elements. It is a piece of writing that expresses the writer’s thought and feelings in order to set a mood; it can be happy or sad, simple or complex. In just a few words, a poem can say a lot. It can inspire and awe and can be a welcome escape into something that is totally wonderful






Poetry





Poetry existed long before people became literate. Ancient poems were memorized and passed down from one generation to another orally. Indian Vedas, Zoroaster’s Gathas and Odyssey are examples of ancient poetry.

Mariou Vargos Llosa

Mariou Vargos Llosa's interview

         Mario Vargas Llosa the Peruvian novelist, was awarded the nobal prize for literature in 2010. His most recent novel is TheNeighbourhood .

   In this interview Llosa shared many ideas related to literary work in which I liked three ideas given by Llosa.

●  Idea on Feminism

●  Ideas and Images

●  Novelist is the Historian

                    Llosa on feminism in which he said that feminism has become very sectarian and dogmatic kind who always stand for stupid equality. llosa also gave an example of feminists attacked  Nabokov's "Lolita" the best novel of 20th century but feminists attacked about male characters. This kind of stupidity destroy the charm of literature.

                  Second is the image and ideas. In this points Llosa said that today's world young generation give the importance to image more than ideas. It is very harmful to youth that they think  images are creative for modern time but they do not think that this century is the age of Photoshop and post truth. 

Wordsworth's Preface to Lyrical Ballads

Preface to Lyrical Ballads

About Wordsworth

     William Wordsworth was a major English Romantic poet who, with Samuel Taylor Coleridge, helped to launch the Romantic Age in English literature with their joint publication Lyrical Ballads.

Preface to Lyrical Ballads 

      The Preface to the Lyrical Ballads is an essay, composed by William Wordsworth, for the second edition of the poetry collection Lyrical Ballads, and then greatly expanded in the third edition of 1802. It has come to be seen as a de facto manifesto of the Romantic movement.

      In the preface to Lyrical Ballads, William Wordsworth explains his theory of poetry. He argues that literary tricks and devices such as personification make it difficult for writers and readers to speak simply and directly about their feelings. He hopes to combat this with his work.

•   Wordsworth outlines three principles guiding the composition of such lyrical ballads. First, the poetry must concern itself primarily with nature and life in the country.

•     Wordsworth's second reason for writing lyrical ballads is that they emphasize the status of poetry as a form of art. He intends to enlighten his readers as to the true depths of human emotion and experience.

•   Wordsworth argues that good poetry doesn't have to be overly complicated or ornamental in order to capture the reader's imagination. Clean, simple lines are best, in his opinion.

        The preface to Lyrical Ballads was written to explain the theory of poetry guiding Wordsworth’s composition of the poems. Wordsworth defends the unusual style and subjects of the poems (some of which are actually composed by Samuel Taylor Coleridge) as experiments to see how far popular poetry could be used to convey profound feeling.

Robinson Crusoe

Robinson Crusoe

About Author

Daniel Defoe

              Daniel Defoe, born Daniel Foe, was an English trader, writer, journalist, pamphleteer and spy. He is most famous for his novel Robinson Crusoe, which is second only to the Bible in its number of translations.

         The Farther Adventures of Robinson Crusoe is a novel by Daniel Defoe, first published in 1719. Just as in its significantly more popular predecessor, Robinson Crusoe, the first edition credits the work's fictional protagonist Robinson Crusoe as its author.

             Robinson Crusoe is an Englishman from the town of York in the seventeenth century, the youngest son of a merchant of German origin. Encouraged by his father to study law, Crusoe expresses his wish to go to sea instead. His family is against Crusoe going out to sea, and his father explains that it is better to seek a modest, secure life for oneself. Initially, Robinson is committed to obeying his father, but he eventually succumbs to temptation and embarks on a ship bound for London with a friend. When a storm causes the near deaths of Crusoe and his friend, the friend is dissuaded from sea travel, but Crusoe still goes on to set himself up as merchant on a ship leaving London. This trip is financially successful, and Crusoe plans another, leaving his early profits in the care of a friendly widow. The second voyage does not prove as fortunate: the ship is seized by Moorish pirates, and Crusoe is enslaved to a potentate in the North African town of Sallee. While on a fishing expedition, he and a slave boy break free and sail down the African coast. A kindly Portuguese captain picks them up, buys the slave boy from Crusoe, and takes Crusoe to Brazil. In Brazil, Crusoe establishes himself as a plantation owner and soon becomes successful. Eager for slave labor and its economic advantages, he embarks on a slave-gathering expedition to West Africa but ends up shipwrecked off of the coast of Trinidad.

Thinking activity on Dryden's An Essay on Dramatic Poesy

 Thinking activity on Dryden's An Essay on Dramatic Poesy

     John Dryden was an English poet, literary critic, translator, and playwright who was made England's first Poet Laureate in 1668. He is seen as dominating the literary life of Restoration England to such a point that the period came to be known in literary circles as the Age of Dryden.

About his essay ' An Essay on Dramatic Poesy '

Criticism flourished in England during the restoration of Stuarts. An Essay of Dramatic Poesy deals with the views of major critics and the tastes of men and women of the time of Dryden. The work is in the form of semi-drama thus making abstract theories interesting. In the late 17th century, Shakespeare was severely criticised for his careless attitude towards the mixing of genres. It was Dryden who elevated Shakespeare to height for his natural genius.

The narrative of An Essay of Dramatic Poesy has four debaters among whom, Neander is the one who holds the views of Dryden. Unlike other characters, Neander does not diminish the arguments that are on contrary to his views. Though he himself favours modern drama, he does not blame others.

The beginning of the narrative An Essay of Dramatic Poesy or Of Dramatic Poesie is as follows. A battle is going on between England and Netherlands. Four gentlemen namely Crites, Eugenius, Lisideius and Neander are travelling by boat to see the battle and start a discussion on modern literature. 

Crites opens the discussion by saying that none of his contemporaries (i.e. moderns) can equal the standards and the rules set by ancient Greeks and Romans. Eugenius restrains him from wasting time on finding demerits. He asks him to find relative merit in Greeks and Moderns.

Thinking activity on Paradise Lost

Paradise Lost.

Some information.... ..

About Author ....

⬛️ John Milton


John Milton was an English poet, polemicist, man of letters, and civil servant for the Commonwealth of England under its Council of State and later under Oliver Cromwell. He wrote at a time of religious flux and political upheaval, and is best known for his epic poem Paradise Lost, written in blank verse. 

Paradise Lost is about Adam and Eve--how they came to be created and how they came to lose their place in the Garden of Eden, also called Paradise. It's the same story you find in the first pages of Genesis, expanded by Milton into a very long, detailed, narrative poem. It also includes the story of the origin of Satan. Originally, he was called Lucifer, an angel in heaven who led his followers in a war against God, and was ultimately sent with them to hell. Thirst for revenge led him to cause man's downfall by turning into a serpent and tempting Eve to eat the forbidden fruit.

The story opens in hell, where Satan and his followers are recovering from defeat in a war they waged against God. They build a palace, called Pandemonium, where they hold council to determine whether or not to return to battle. Instead they decide to explore a new world prophecied to be created, where a safer course of revenge can be planned. Satan undertakes the mission alone. At the gate of hell, he meets his offspring, Sin and Death, who unbar the gates for him. He journeys across chaos till he sees the new universe floating near the larger globe which is heaven. God sees Satan flying towards this world and foretells the fall of man. His Son, who sits at his right hand, offers to sacrifice himself for man's salvation. Meanwhile, Satan enters the new universe. He flies to the sun, where he tricks an angel, Uriel, into showing him the way to man's home.

Satan gains entrance into the Garden of Eden, where he finds Adam and Eve and becomes jealous of them. He overhears them speak of God's commandment that they should not eat the forbidden fruit. Uriel warns Gabriel and his angels, who are guarding the gate of Paradise, of Satan's presence. Satan is apprehended by them and banished from Eden. God sends Raphael to warn Adam and Eve about Satan. Raphael recounts to them how jealousy against the Son of God led a once favored angel to wage war against God in heaven, and how the Son, Messiah, cast him and his followers into hell. He relates how the world was created so mankind could one day replace the fallen angels in heaven.

Satan returns to earth, and enters a serpent. Finding Eve alone he induces her to eat the fruit of the forbidden tree. Adam, resigned to join in her fate, eats also. Their innocence is lost and they become aware of their nakedness. In shame and despair, they become hostile to each other. The Son of God descends to earth to judge the sinners, mercifully delaying their sentence of death. Sin and Death, sensing Satan's success, build a highway to earth, their new home. Upon his return to hell, instead of a celebration of victory, Satan and his crew are turned into serpents as punishment. Adam reconciles with Eve. God sends Michael to expel the pair from Paradise, but first to reveal to Adam future events resulting from his sin. Adam is saddened by these visions, but ultimately revived by revelations of the future coming of the Savior of mankind. In sadness, mitigated with hope, Adam and Eve are sent away from the Garden of Paradise.

Post Truth

What is Post Truth?

Relating to or denoting circumstances in which objective facts are less influential in shaping public opinion than appeals to emotion and personal belief.

WHAT IS TRUTH?

Post-Truth can only be described empirically, not philosophically, at least in a way that most people can believe in.

Truth is a, empirically, statements one or more people agree on. Nothing more, nothing less.

You can say something simple and observable (ie ‘one line is longer than another’) but repeated studies show that a LARGE percentage of humans will deny the ‘objective’ reality for the social reality.

POST TRUTH?

It used to be that truth was more ‘standardized’. With fewer information sources, each source had a greater ‘authority.’

When you have 2 newspapers (or only 1), it becomes harder to have a viewpoint other than one of those.

This is because other viewpoints are either unfamiliar or socially unacceptable. Both require extremely costly effort to overcome.

Today, anybody can post any viewpoint. The ‘liberation’ of information has led to a ‘diffusal’ of authority.

This fact is what I believe we refer to when we speak of post truth.

POST TRUTH POLITICS?

In politics, all this means is that different groups can have different motivations for believing different narratives. Given the prevalence of the confirmation bias, once you start with a story you want to believe, finding or even inventing confirmatory evidence is much easier than confronting contradictory evidence or admitting you’ve been wrong.

When confronted with logical or empirical holes in your argument, you are more likely to dig in than give up.

This is what has happened in today’s society.

Thinking activity on Hamlet

 Thinking activity on Hamlet
About Shakespeare

William Shakespeare was an English poet and playwright who is considered one of the greatest writers to ever use the English language. He is also the most famous playwright in the world, with his plays being translated in over 50 languages and performed across the globe for audiences of all ages. Known colloquially as "The Bard" or "The Bard of Avon," Shakespeare was also an actor and the creator of the Globe Theatre, a historical theatre, and company that is visited by hundreds of thousands of tourists every year. 

His works span tragedy, comedy, and historical works, both in poetry and prose. And although the man is the most-recognized playwright in the world, very little of his life is actually known. No known autobiographical letters or diaries have survived to modern day, and with no surviving descendants, Shakespeare is a figure both of magnificent genius and mystery. 

This has led to many interpretations of his life and works, creating a legend out of the commoner from Stratford-upon-Avon who rose to prominence and in the process wrote many of the seminal works that provide the foundation for the current English language.

⬛️ About Hamlet 

First performed around 1600, Hamlet tells the story of a prince whose duty to revenge his father’s death entangles him in philosophical problems he can’t solve. Shakespeare’s best-known play is widely regarded as the most influential literary work ever written.

The Impossibility of Certainty

Prince Hamlet mourns both his father's death and his mother, Queen Gertrude's remarriage to Claudius. The ghost of Hamlet's father appears to him and tells him that Claudius has poisoned him. Hamlet swears revenge. He arranges an old play whose story has a parallel to that of Claudius.

Hamlet's behaviour is considered mad. He kills the eavesdropping Polonius, the court chamberlain, by thrusting his sword through a curtain. Polonius's son Laertes returns to Denmark to avenge his father's death. Polonius's daughter Ophelia loves the Prince but his brutal behaviour drives her to madness. Ophelia dies by drowning.

⬛️  Theme of this play 

The Impossibility of Certainty

The Complexity of Action

The Mystery of Death

The Nation as a Diseased Body

Thinking activity on Aristotle's Poetics (Tragic Hero)

Thinking activity on Aristotle's Poetics (Tragic Hero)
Aristotelian Tragic Hero

                           Aristotle's tragic hero. In Poetics,Aristotle suggests that the hero of atragedy must evoke a sense of pity or fear within the audience, stating that “the change of fortune presented must not be the spectacle of a virtuous man brought from prosperity to adversity.

Aristotle's definition of Tragic Hero

                      In Poetics, Aristotle suggests that the hero of a tragedy must evoke a sense of pity or fear within the audience, stating that “the change of fortune presented must not be the spectacle of a virtuous man brought from prosperity to adversity."[2] In essence, the focus of the hero should not be the loss of his prosperity. He establishes the concept that pity is an emotion that must be elicited when, through his actions, the character receives undeserved misfortune, while the emotion of fear must be felt by the audience when they contemplate that such misfortune could possibly befall themselves in similar situations. Aristotle explains such change of fortune "should be not from bad to good, but, reversely, from good to bad.” Such misfortune is visited upon the tragic hero "not through vice or depravity but by some error of judgment." This error, or hamartia, refers to a flaw in the character of the hero, or a mistake made by the character.(Wikipedia )

About Aristotle

                                             

                                      Creon of Sophocles' Antigone is another notable example of a tragic hero. Polyneices and his brother, Eteocles, were kings, and the former wanted more power, so he left and assembled an army from a neighboring city. They attacked and the two brothers killed each other. Through Creon's law forbidding the burial of Polyneices, Creon dooms his own family. Other examples provided by Aristotle include Thyestes.

                                       Therefore, the Aristotelian hero is characterized as virtuous but not "eminently good," which suggests a noble or important personage who is upstanding and morally inclined while nonetheless subject to human error. Aristotle's tragic heroes are flawed individuals who commit, without evil intent, great wrongs or injuries that ultimately lead to their misfortune, often followed by tragic realization of the true nature of events that led to this destiny.[3] This means the hero still must be – to some degree – morally grounded. The usual irony in Greek tragedy is that the hero is both extraordinarily capable and highly moral (in the Greek honor-culture sense of being duty-bound to moral expectations), and it is these exact, highly-admirable qualities that lead the hero into tragic circumstances. The tragic hero is snared by his or her own greatness: extraordinary competence, a righteous passion for duty, and (often) the arrogance associated with greatness (hubris).(Wikipedia) 

                                                 Aristotle proposes to study poetry by analyzing its constitutive parts and then drawing general conclusions. The portion of the Poetics that survives discusses mainly tragedy and epic poetry. We know that Aristotle also wrote a treatise on comedy that has been lost. He defines poetry as the mimetic, or imitative, use of language, rhythm, and harmony, separately or in combination. Poetry is mimetic in that it creates a representation of objects and events in the world, unlike philosophy, for example, which presents ideas. Humans are naturally drawn to imitation, and so poetry has a strong pull on us. It can also be an excellent learning device, since we can coolly observe imitations of things like dead bodies and disgusting animals when the real thing would disturb us.

                                              Aristotle identifies tragedy as the most refined version of poetry dealing with lofty matters and comedy as the most refined version of poetry dealing with base matters. He traces a brief and speculative history of tragedy as it evolved from dithyrambic hymns in praise of the god Dionysus. Dithyrambs were sung by a large choir, sometimes featuring a narrator. Aeschylus invented tragedy by bringing a second actor into dialogue with the narrator. Sophocles innovated further by introducing a third actor, and gradually tragedy shifted to its contemporary dramatic form.

Aristotle defines tragedy according to seven characteristics:

 (1) it is mimetic, (2) it is serious, (3) it tells a full story of an appropriate length, (4) it contains rhythm and harmony, (5) rhythm and harmony occur in different combinations in different parts of the tragedy, (6) it is performed rather than narrated, and (7) it arouses feelings of pity and fear and then purges these feelings through catharsis. A tragedy consists of six component parts, which are listed here in order from most important to least important: plot, character, thought, diction, melody, and spectacle.

Lagaan movie

    Lagaan movie

             Lagaan is a 2001 Indian epic sports -drama film, directed by Ashutosh Gowariker, produced by Amir Khan and Manoor Khan, and written by Gowariker and Abbas Tyrewala. Amir Khan stars along with debutant Gracy Singh, with British actors Rachel Shelley and Paul Blackthorne playing supporting roles. The film was shot in an ancient village near Bhuj, India.

During the British Raj, a farmer named Bhuvan accepts the challenge of Captain Andrew Russell to beat his team in a game of cricket and enable his village to not pay taxes for the next three years.

What is the lesson of  this movie 

Lagaan movie was a great Inspiration for Aspiring Leaders.
 The movie taught us many things.

1. To see problems as an opportunities: When the Captain from British challenged Bhuvan for a cricket match,Bhuvan saw it as a way to bring happiness into the lives of people.
2. Implementation is as important as Dreaming: Bhuvan dreamt of bringing happiness in the lives of people by winning the match  for which he clearly defined the goal and discussed the plan and Implementation with the villagers.
3. Selflessness: It's a very great quality for a leader to have. In fact every leader should put the interests of his people before his own. Bhuvan did exactly the same.
4. No matter what comes in your way, be determined: When Bhuvan thought of including an untouchable in the team, villagers opposed him but he stood still and determined and in the end convinced everyone that it would be beneficial for the team.
5. Small examples to learn complex things: Cricket was altogether a complex game for the villagers initially, but Bhuvan compared it with an already well known game of Gulli-danda.
6. Building the team: Food tastes good only if the ingredients are in the right proportion. Same is the case with a team. If a team has to succeed,it should have the right people and Bhuvan makes this possible by understanding the people and treats every individual differently, again a very good quality for a leader to have.
7. Getting people into your team is just half the task, assigning them their roles is as important.
8. Lastly, OVER CONFIDENCE kills :D ,The british were over confident about their victory which eventually made them lose.