Explaining the Definition of Deconstruction

Name: Vadher Ankita.

Paper: E-C-203: Literary Criticism: Western and Indian Poetics-2.

Topic:Explaining the Definition of Deconstruction.

SEM: 2, Part: 1.

Year: 2011/12.

Submitted To,

 Dr. Dilip Barad,

Dept of English,

                                              Bhav. Uni.

z What is Deconstruction? z

Derrida was the most influential philosophy in 70s and 80s of last century. In the criticism of literature, deconstruction is a theory and practice of reading which question and claims to ‘subvert’ or ‘undermine’ the assumption that the system of language provides grounds that are adequate to establish the boundaries, the coherence or unity, and the determinate meaning of a literary text. Typically a deconstructive reading sets out to show the conflicting forces within the text itself to dissipate the seeming definiteness of its structure and meaning in to indefinite array of incompatibility and undividable possibilities. Derrida did not invent the term deconstruction. First he found in a dictionary it was archaic word and also started to use in the 1960s. The meaning of the term ‘deconstruction’ has expanded far beyond those intended in derrida’s own first use of it. The word itself is now commonly used as a pretentious Alternative to “analysis”. Deconstruction is sometimes used as a label for what literary studies in general dose to poems plays, and novels, breaking them down to see how they work the implication often being that as for the child who takes apart their new toys on their birthday morning it may not prove possible to you things back together again. Deconstruction troubles our nation of definition because of its intense concern with singularity with what makes things individual or unique governed by something like a principle of respect for singularity, it makes more sense to think of Deconstruction in the plural a series of responses which seek to be as faithful as possible to their various objects whether a partition text, author, or historical event. This is why Deconstruction can’t be a method which would imply subordinating its objects regardless of their variety and singularity to some kind of mechanical operation. Deconstruction it should already be clear is awkward suspicious of the theoretical reduction of the world and pre-eminently wary of traditional philosophical interest in essences, ideals and abstract logics, it also recognizes the encasing of asking the kinds of question which can only be posed philosophically. One side of Deconstruction is this critical questioning of philosophical assumptions. Which are also the assumptions which underlie the way? We think, all the time, as Derrida commented in an interview in 1968, “Everyday language” is not innocent or neutral. It is the language of western metaphysic and it carries with. It is not only a considerable number of presuppositions of all type But, also presuppositions inseparable from metaphysics.

            Deconstruction is very interested in the way in which identity is never simply complete or given but is the product of these kinds of decisions of assumptions. Derrida is cornered as much with historical events with language the identity of written and verbal signs that which allows them to be respected, used and understood in new context to men things. Quite different from what was ordinary “Ghostliness” that open and provisional identity which characterized all identities. Deconstruction consists in exploiting the potential of the text by the reader who may bring in his own interests political philosophical literacy ideological. This is based on a language philosophy which stresses the relativity of meaning in as much as “Language is a system of difference without positive terms” Deconstruction is instructive.

Example:

                   If Deconstruction can be the name of a record label known for putting out chart friendly dance, music in the late 1980’s of a dreary 1999 album by earnest singer song writer Meredith books and of a series of skate punk rock festivals in 2002 and 2003.

                        It has became an excellent example of Derrida’s point that what makes communication possible is “inerrability” or to decode his term the sense that to be a word means something like this opposability of being carried in to ever changing contexts and put to ever different uses.

z Deconstruction and Post Structuralism z

                        Post-structuralism term referring to the new way texts are read and interpreted. It is a view of literature derived from Jacques Derrida’s theory of writing and more distantly from the linguistics of Saussure. Traditional interpretation of texts consisted in getting at the intention of the author and suppressing the kind of subjectivity which often interfered with it. Traditional interpretation also assumed that it is possible to get at the meaning of the text because it is universal. “Language is a system of differences without positive terms” it was Saussure who showed that signs differs from each other and they become meaningful through their differences which take the farm of opposition.

For Example:

Ø Red as a traffic signal means Stop while Green means go.

                              The connection between the signifier Red and the signifier stop is arbitrary, conventional, it is defined not by its essential properties but by the difference that distinguishes it from green or other signs. This feature made Saussure describe language as a system of differences without any positive terms. Derrida carries this argument its logical extreme when he shows that the very differences that make them meaningful keep them from meaning anything definite and also the signs don’t shed the multiple meaning they acquire in different contexts. They retain the traces of their other uses. Trace means a kind of eraser. Eraser is when writing itself erasing an idea.

Example:

Ø I have seen that people don’t close their eyes while praying.

                              This interdependence leads Derrida to the hypothesis that we can’t say what any sign means without reference to its relation to the other signs. In other words signifier differs from each other and from what they signify. The differences that make them meaningful keep them from meaning anything definite ha employs terms like trace / difference / differance /  supplement to explain this indeterminacy or phonon centrism or privileging speech over writing has no validity. Bloom would examine the relation of a text to its precursor this skeptical language philosophy with the one which we in India know we had our own skeptical and atheistic philosophy which accepted “presence” and who held the same view as Derrida but more ancient philosophy which accepted “presence”, “truth” and “meaning” while granting the impossibility of embodying it in human language except negativity. Infect, they said it can’t even be conceived by mind or by logic still maintained the importance of word as capable of expressing the truth. There is a verse which says: speech is measured out in 4 steps. The Brahmins who have the understanding when we listen this word Brahmins the ideas comes in a mind Brahmins means the wise that have the knowledge of the mantras. Derrida and his followers who pay so much attention to analysis of the semantic significance of words and to dismantling don’t speak at all of intonation and rhythm which may modify and integrate the meaning of individual signs and leads us to “presence”. This inclusive view of language can’t be dismissed as mere logo centrism.

                                                ™ Diachronic / Synchronic ˜

Diachronic:

                              Diachronic as related to the study of language both are related to the study Diachronic refers to the way of studying language taking in to the account the change and development through time and also a words grew with expert life.

Synchronic:

                              Opposed to the Diachronic synchronic which takes into the account those elements that are concern corneous synchronic available today which language existence today architect view of language.

Example:

Ø Thing - word, word – Thing

                                                ™ Difference / Differance ˜

                              Saussure defined language as a system of difference. He employs the terms sign / signifier / signified / parole / langue to define the whole system. The set of sounds the marks on the paper constitute the signifier. The concept thus named is called the signified. The relationship between the signifier and the signified is arbitrary/ conventional. Saussure terms langue as opposed to parole or speech which is what we find in individual utterances. Though the linguistic system langue is necessary for the speech events parole to be intelligible and produce their effects. It is impossible to establish the system itself without the speech events. The business of signification thus gets. Done only through speech, but the validity of its transaction is derived from the ratification by language system. Derrida shows that if in the linguistic system. There are only differences the play of differences involves constant references to other words; signs which are not there the meaning of which therefore entangle it with other signs. A word or sign differs each time we use it and yet retains traces of its other uses. The meaning of any word will never stop and declare itself at any point. There is a difference, by which neologism Derrida indicates how contracted differences result in a deferral.

Difference / Differance for Example:

 Ø       I am man.

                              It indicating / identity of man mean not an animal or not any gender. The language in hidden meaning.

                              Language always pretends to make things present to us but always fails. It defers postpones delays. This deferred nature of meaning forces us to realize that there is no arriving at it rather there is a dissemination of meaning. Derrida uses the word disseminating to suggest that meaning in a text is not single or hypostatized; on the other hand it is distributed among various alternatives which make the text ‘stratified’ as Christopher Norris would have it. Hence its relation to other text dissemination or its intersexuality. The multiple meaning become a source of joy Derrida uses the term graft to define the way two discourses may be ‘bound’. The reverberations set up by structures at once connected and divided are indicating by the term Tympana from tympanum which connects by transmission of sounds, the inside and outside separated.

                             

Importance of language and Discourse.

Name: Vadher Ankita.

Paper: E-E-205-B: Cultural Studies.

Topic: Importance of language and Discourse.

SEM: 2, part: 1,

Year: 2011/12.

Submitted To,

Dr. Dilip Barad,

Dept. of English,

Bhavnagar University.

Language and Discourse:

Raymond William Explain Definition of culture and society remain the cornerstone for much cultural studies even today:“our description of our experience comes to compose a network of relationship, and all our communication systems, including the arts, are literary parts of our social organization… since our way of seeing is literally our way of living, the process of community the offering, reception and comparison of new meanings leading to the tension and achievement of growth and change.”

           

William’s quote shows experience is central to the project of cultural studies, traffic clothing, food, social relations on public transport the sense of community or entertainment constitute our everyday culture. It foregrounds experience, but it analyses the relations that construct reality. Experience is expressed through language; how we express what we experience, how we speak with others and how we tell our stories. Language and representation are integral to the experience and construction of reality. In our society we studying about class-consciousness, tradition, race, gender discrimination, this all involve in our culture we studying not only about economic or politics but it also related to our everyday life. Language is very important and also played a vital role in our everyday life. Communication is very important to creates community and constitute a particular culture. Meaning is also played important role meaning exchange through a process of negotiations. Cultural studies believe that the process of meaning production are connected to the structure of power in society certain meaning acquire great power because of their sources, other meaning become less important. In cultural studies the preferred term to speak about ‘meaning’ is representation. We represent a present’s world in such a way that we can understand it. Representation can be an image, a word a sound or a concept. Language and meaning are connected to issues of class power, ideology and the material condition in which the speaking/ painting or situated in a context. This context is discourses are situated in a context in which a culture’s communication, meaning production and interpretation occur. Every objects, subjectivity and identity has to have some kind of representation in a particular society. This can be a name, a symbol, a word, a metaphor, a visual sign.

Example:

Our identity as a boy or girls is made possible through a system of signs think of our name which in most cultures where meaning is shared immediately identifies our gender when we hear of the name of people from other countries we don’t know they are male or female. Objects and events are also signs within a language system that can be interpreted by people who share a set of cultural codes.

Example:  Toys.

People who lived in a society they define boy and girl. When we look at toys we know tools/guns are suitable for boys. And dolls are suitable for girls. Here the point is dolls become sings of the feminine and therefore are given to girls. And guns become signs of masculinity. The values of a particular culture decide the owner/ user of dolls and tools not the inherent quality of the objects themselves.   

  

These discourses are patriarchal and treat women as weaker and requiring protection and to be given only particular tasks. As a result the discourses decide what is suitable or not suitable for girls and boys. It becomes natural to given dolls to girls and tools to boys. So then we can conclude our reading thus: text in contexts in society. We have to move between texts and everyday life where one influences the other. Girl and boys grown up watching such images of women and toys, and they grown up with same values in their everyday life, ways of thinking and social relation in turn produce similar texts. As the girl and boy grown up within this system of representation where their qualities and duties are available, they acquire an identity.

Multiplicity of Major Theme in Middlemarch.

Name: Vadher Ankita.

Paper: E-C-204: The Victorian Literature.

Topic: Multiplicity of Major Theme in Middlemarch.

SEM: 2, Part: 1.

Year: 2011/12.

Submitted To,

Dr, Dilip Barad,

Dept. of English,

Bhavnagar University.

v Unity of Middlemarch:

        The Decision made by every Person in Middlemarch seems to have a direct effect on at least one other person. Dorothea’s Decision to choose Casaubon leads sir James to choose Celia Mary’s decision to marry Fred means that fare brother is without a wife. Balustrade’s dirty dealing with regard to raffles mean disgrace to both Lydgate and willladislaw. Everyone is in interconnected and it seems that no one can move around without disturbing someone else.

v Gender roles and expectation:

Especially relevant to Dorothea. Middlemarch society has very defined ideas of what people of each gender should do within the society and people, especially women, who deviate from this norm, are looked down upon. Dorothea is tolerated because she is of good family and does not disrupt the society she is in. however she faces a great deal of pressures to change herself, conform to others ideas, and submit herself to male leadership at all times.

v Social position:

Social position is a great deal in Middlemarch; it means how much respect a person gets. How people treat them, how they are regarded etc. people of high status are generally treated more delicately than people with little money like Laidlaw and Lydgate Birth and connection are also important in determine a person’s place and also what benefits they will receive from society.

v Family obligation:

People within the novel have varying ideas of family obligation in the novel, though it is a strong force in Middlemarch society. Mr. Featherstone’s relations believe they are untitled to money; Mrs. Balustrade believes that she must help and advice her family in order to show support. Sir James shows his regarded for his family by being very protective and a constant adviser as well. Casaubon dispense of his obligation though money and Balustrade attempts also to do the same.

v Reality VS Expectations:

  Many character’s preconceived ideas, especially of marriage, are proven tragically wrong in the course of the book. Casaubon and Dorothy both have unrealistic ideas about marriage, and are disappointed. Lydgate and rosamond have the same ideas, and are let down. Life often defines what one expects, or could predict of it; and the people who are happiest are the ones who have few expectation, or are most flexible.

v The imperfection of marriage:

Because of marriage. Life become imperfect and destruction. Most characters in Middlemarch marry for love rather than obligation, yet marriage and the pursuit of it are central concerns in Middlemarch, but unlike in many novels of the time marriage is not consider the ultimately source of happiness. Two examples are the failed marriage of Dorothy and Lydgate. Dorothea marriage fails because of her youth and of her disillusion about marrying a much older man, while Lydgate’s marriage fails because of irreconcilable personalities. Mr. and Mrs. Balustrade also face a marital crisis due to his inability to tell her about the past and Fred vincy and many Garth also face a great deal of hardship in making their union. As none of the marriages reach a perfect fairytale ending. Middlemarch offers a clear critique of the usual portrayal of marriage as romantic and unproblematic.

v Self- determination VS chance:

 In Middlemarch self determination and chance are not opposing forces but rather a complicated balancing act when character strictly adhere to a belief in either chance or self determination, bad things happen. When rosamond goes against the wishes of her husband and writers a letter asking for money from his relative her act of self- determination puts lydgate in an unsavory and tense situation coupled with a refusal to help on the flip side, when Fred vincy gambles away his money, relying solely on chance he falls in to debt and drags with him the people who trust him. Only when he steps away from gambling and decides not to go in to the clergy, the character of fare brother demonstrates the balance between fate and self determination. This balance is exemplified. In his educated gamble in the game of whist. Through a combination of skill and chance, he is able to win more often than not his character strikes a balance between chance and his role in determining that fate.

v Self discovery:

There are certain truths which every character learns about himself in the course of trails Lydgate and rosamond find out more about their character through their money troubles through their money troubles through they do not always adjust accordingly. Dorothea makes the most dramatic younger of self discovery and changes a great deal within the course of the novel.

v Conscience VS self interest:

            

This is a question that comes to play in Lydgate’s life in particular. Does one do what one thinks is right or what gives one the most benefit? Lydgate often goes for self interest though it gets him not trouble.

v  Money:

Money is the root of many evils, but much good in the novel, lydgat gates desperate for want of it, Fred despairs when he has little Dorothy becomes generous when she has too much and the garths save carefully since their money is limited money has a profound effect on character within the novel, and though many people are judged by how much money they have many of the best people in the novel, like will Laidlaw and Mrs. Fare brother, have very little.

v Love:

     

Love keeps people together in Middlemarch we can see in the Middlemarch true love between character like will and Dorothy, Mary and Fred and they are bound together by it and they are very alike in temperament and outlook. And those who look it like lydgat and rosamond, Casaubon and Dorothy are ill-suited to each other in marriage. And they are very disappointed by there unions.

v Responsibility:

This is a major theme of Fred’s story and he must become responsible for his finances and his choice, will does to a certain extent. Both men must learn how to rely on extent. Both men must learn how to become independent it many ways.

  

The Boundaries of National Identity in the Shadow Lines.

Name: Vadher Ankita.

Paper: E-C-202: Indian Writing in English- Post Independence

Topic: The Boundaries of National Identity in the Shadow Lines.

SEM: 2, Part: 1.

Year: 2011/12.

Submitted To,

 Dr. Dilip Barad,

Dept. of English,

                                           Bhav. Uni

v The shadow line:

Ghosh’s reparation of the nation and its boundaries in the novel, which takes as its pivotal moment the partition of the province of Bengal in to west Bengal and east Bengal. In the novel, ghosh writes of the datta-chudhuri of Bengal who crosses and recross not only physically but also imaginatively, the boundaries between Calcutta and London and those between Calcutta and Dhaka. The narrator, who is never, named based in Calcutta that of his tha’mma and her sister, mayadebi, born and raised in Dhaka but living in Calcutta as part of the mass exodus of Bengali. Hindu during partition and two further lines bringing in to the story the narrator’s other relatives his cousin ILA and uncles robi and tridib. The narrator’s closest links are with his tha’mma and her sister’s son, tridib. In pursuing its inquiry in the logic of boundaries in the postcolonial context, the shadow lines takes up the challenge of representing the complexity of national identities. Homi Bhabha writes that the postcolonial text the problem of identity returns as a persistent questioning of the frame, the space of representation, where the image is confronted with its difference its other. For Bhabha the very place of national identification and uncertainly where identity is not pre-given stable or whole but divided by otherness’s within itself, always in a state of ambivalence. The shadow lines are the mirror image, which runs throughout the novel as a sign of those relations that paradoxically connect nation and individuals even as they divide them. Towards the end of the novel the other character learns to recognize each of the other characters Tridib, ILA, Robi, Nick, and Tha’mma as his mirror image. The mirror image in the novel foregrounds the idea of mutual contractedness not only between the narrators the other characters that surround him but also between the cities of London Dhaka and Calcutta. As he discovers new meaning and imagines new connection between his and the other characters perception and experiences of space the adult narrator comes to understand that “Muslim Dhaka” and “Hindu Calcutta” are essentially mirror image of each other separated by a “looking Glass border”., the cause of the riots that killed Tridib in Dhaka also causes the Calcutta riots in which he was trapped as a child. As tha’mma believes “across the border there existed another reality”. Thus in the novel Tha’mma supremely confident in her belief that real borders separate nations is taken aback when told that she would not be able to see any borderline between India and east Pakistan from the plane. ”where’s the difference then? She asks, and if there’s no difference both sides will be the same.

v Partition and Hindu Muslim Relation:

               Hindu Muslim conflicts and division in the subcontinent after 1947. Culture identities, religion and conflict that partition violence is commonly agreed to have been the most momentous event in the shaping of Hindu Muslim relation in independent India the division of the country in to two states of India and Pakistan. The shadow line implicitly endorses the view that identities such as “Muslim” and “Hindu” are not entities with fixed unambiguous meaning. Culture and national identities depend for their meaning on political, social, and historical forces also determine the contexts within which difference is constructed. The shadow lines can be read as destabilizing the fixed, binary logic imposed on nation of otherness, identity, history and memory in the construction of nationalist boundaries. Thus in the shadow lines ghosh represents national identity in a way which forces us to acknowledge the ambivalence of boundaries, even as we accept that partition was necessary this, on a metaphoric level is what Tridib tries to do by jumping out of the sure safety of his car during the riots and running towards the Muslim old man he barely knows. The force and appeal of nationalism cannot be wished away, just as death by a communal mob in the bye-lanes of old Dhaka’. Dhaka has been tha’mma’s place of birth but her nationality is Indian. As a young girl, she had thought of fighting for freedom in east Bengal. But those very same people for whom she had been willing to lay down her life are enemies how in 1964. Feelings of nationalism had after all motivated the fight against the British. The violence it unleashed by the action of a few fanatics the vengeance that the ordinary Hindu, Muslim and Sikhs wreaked on each other worsened our social sense distorted our political judgments and deranged our understanding of moral righteousness.

v Conceptions of home:

The novel’s two sections, “going away” and” coming home” are named after the two, principal journeys Tridib’s journey to England in 1939 and Tha’mma journey to Dhaka in 1964. The journeying fore grounded in the text, however is in epistemological as well as in physical term. The narrator observes: every language assumes a centrality a fixed and settled point to go away from and come back to and what my grandmother was looking for was a word for a journey that was not a coming or a going at all a journey that was a search for precisely that fixed point which permits the proper use of movement. This comment is prompted by his grandmother’s confusion when speaking in Calcutta about she says she will “come home to Dhaka” instead of “go” home to Dhaka. The narrator teases his grandmother about not knowing “the difference between coming and going” the more nature narrator now sees that her idiom has in fact been shaped by her assimilation of the basic dictate of “home”. When tha’mma discovers that her native city of Dhaka which she visit for the first time after partition is now the “other” home, a place of danger threat and instability. The novel’s opening sentence undermines any stable or unitary nation of the nation spatial cultural and temporal contexts: “in 1939 thirteen years before she was born and her father’s aunt mayadebi went to England with her husband and her son tridib.

v Conclusion:

For Amitav ghosh borders are self reflexive frames for constructing meaning “shadow lines”, which acquire an interstitial intimacy that transgresses the monologue fixity of nationalist boundaries. Only when the narrator comes to understand that the boundary is that line “where the shadow of the other falls upon the self and it is here that the novel’s title resonates with meaning can he arrive at a fuller understanding of his complex identity as a subject of the postcolonial Indian nation.

Critique on Keats poems.

Name: Vadher Ankita.

Paper: E-C-201: The Romantic Literature.

Topic: Critique on Keats poems.

SEM: 2, Part: 1.

Year: 2011/12.

Submitted To,

 Dr. Dilip Barad,

Dept.of English,

Bhavnagar University.

™ Ode to a Nightingale ˜

v Summary:

The speaker feels numb as though he had taken a drug only a moment ago. He is addressing a nightingale he hears singing somewhere in the forest and says that his “drowsy numbness” is not from envy of the nightingale’s happiness, but rather from sharing it, He is “Too Happy” that the nightingale sings the music of summer from amid some unseen green trees and shadows.

          In  the 2^nd stanza the speaker longs for the oblivion of alcohol, expressing his wish for wine that would taste like the country and like peasant dances, and let him a disappear into the dim forest with the nightingale.

          In the 3^rd stanza, he explains his desire to fade away and saying he would to forget the troubles the nightingale has never known of human life with its consciousness that everything is mortal and nothing lasts.

          In the 4^th stanza, the speaker tells the nightingale to fly away, and he will follow not through alcohol, but through poetry, which will give him “Wireless Wings”. He says he is already with the nightingale and describes the forest glad he says where the moonlight is hidden by the trees.

          In the 5^th stanza, the speaker can’t see the flower in the glade but can guess them white Hawthorne violet and the musk rose.

          In the 6^th stanza, the speaker listens in the dark to the nightingale, saying that he has often been “Half in Love” with the idea of dying and called death soft names in many rhymes. The speaker thinks that the idea of death seems richer than ever.

          In the 7^th stanza, the speaker tells the nightingale that it is immortal that it was not “born for death”. He says that the voice he hears singing has always been heard by ancient emperors and clowns.

          In the 8^th stanza, the nightingale flies farther away from him he laments that his imagination has failed him he says the music is gone the speaker can’t recalled whether he himself is awake or asleep.

v Form:

          Ode to a nightingale is written in 10 line stanzas. The 1^st seven and last two lines of each stanza are written in iambic pentameter. The eight line of each stanza is written in trimester with only three accented syllables instead of five each stanza in “nightingale” is rhymed ABABCDECDE.

v Themes:

          Here in the poem the speaker hearing the song of the nightingale the speaker longs to flee the human world and join the bird. His first true thought is to reach the bird state through alcohol in the 2^nd stanza he longs for a “draught of vintage” to transport him out of himself. But in the third stanza on the transience of life he rejects the idea of being “charioted by Bacchus and his parts”.

          The rapture of poetic inspiration matches the endless creative rapture of the nightingales music and the speaker in five through seven stanzas he imagine himself with the bird in the darkened forest. The ecstatic music even encourages the speaker to embrace the idea of dying. The “art” of the nightingale is endlessly changeable and renewably. It is music without record existing only in the perpetual present. The nightingale’s song is spontaneous and without physical manifestation.

™ To Autumn ˜

v Summary:

The poem opens with addressing autumn describing its abundance and its intimacy with the sun in the 2^nd stanza the speaker describe the figure of the autumn as a female goddess often seen setting on the granary floor her hair “ soft lifted” by the wind and often seen sleeping in the fields or the juice from apple.

          In the 3^rd stanza the speaker tells autumn not to wonder where the song of spring has gone but instead to listen to her own music.

v Form:

“To Autumn” is written in a tree stanza structure with a variable rhyme scheme. Each stanza is eleven lines longs the first part of each stanza follows ABAB rhyme scheme the first line rhyming with the third and second line rhyming with the forth. The second part of each stanza is longer and varies in the rhyme scheme. The first stanza is arranged CDEDCCE and the second and third stanza are arranging CDECDDE.

v Theme:

           “To Autumn” is one of the simplest of keat’s odes. There is nothing confusing or complex in keat’s paean to the season of the autumn, with its fruitfulness, it flowers the song of its. Swallows gathering for migration. “To Autumn” takes up where the other odes leave off. The selection of the season implicitly takes up the other odes theme of temporarily, mortality and change. Autumn in keat’s odes is a time of warmth and plenty but it is perched on the brink of witness desolation as the bees enjoy “later flowers” the harvest is gather from the fields the lambs of spring are now “ full grown” and in the final line of the poem the swallows gather for their winter migration. Despite the coming chill of winter the late warmth of autumn provides keat’s speaker with ample beauty the celebrate the cottage and its surroundings I the first stanza the agrarian hunts of the goddess in the second and the locates of natural creature in the third. In this poem the act of creation is pictured as a kind of harvesting. The pen harvest the field of the brain and books are filled with the resulting “grain”. The sense of coming loss that permeates the poem confronts the sorrow underlying the season’s creativity. What makes “To Autumn” beautiful is that it brings and engagement with that connection out of the become mythology and fantasy and in to the everyday world.

™ Ode to Psyche ˜

v Summary:

          The speaker opens the poem with an address to the goddess psyche, the poet says that why he is wondering through the forest that vary day he stumbled upon “too fair creatures”, lying side by side by side in the grass beneath a “ whispering roof” of leaves surrounded by flowers. They embraced one another with both there arms and wings the speaker says he knew the winged boy.

          In the 2^nd stanza the speaker describing psyche again as the youngest and most beautiful of all the Olympian gods and goddess psyche has none of the trapping of worship. She has no temple, no alters, no choir to sing for her.

          In the 3^rd stanza the speaker attribute this lack to psyche’s youth. But the speaker says that even in the fallen days of his own time he would like to pay homage to psyche and become her choir her music and her oracle.

          In the 4^th stanza he continue saying he will become psyche priest and build her a temple in an “untrodden region” of his own mind. A region surround by thought that resemble the beauty of nature.  

v From:

          The stanzas vary in numbers of lines rhyme scheme and metrical scheme and convey the effect of spontaneous. Lines are iambic but vary from diameter to pentameter. The number of lines in a stanza is simply organic and irregular stanza one has 23 lines stanza two has 12, stanza three has 14 and stanza for has 18. The full rhyme scheme is ABABCDCD EFGEEGH IIJJ KIKI. It can essentially be broken in to the five parts two pair’s four lines. The large number of irregularities and long rhyme scheme is this old should not be taken as signs of great formal complexity. “Ode to psyche” is much more freely and loosely written than any of keat’s other odes.

v Theme:

          The basis for the story of “ode to psyche” is the famous myth. Psyche was the youngest and most beautiful daughter of a king. She was so beautiful and the goddess of love and beauty was jealous of her. She dispatched her son Eros the god of love to punish psyche for being so started by psyche’s beauty and fell in love with her Eros remained invisible to her coming to her only at night and oracle psyche lit a lamp in order to catch glimpse of her lover but Eros was so angry with her for breaking his trust that he left her. Psyche was forced to performed number of difficult task to Venus and win back Eros as her husband. As keat’s observed myth of psyche was never worshiped as real goddess. That silent is what compels keat’s speaker to dedicate himself to becoming her temple her priest and her profit all in one. “Ode to psyche” is simply a song to love and the creative imagination.