presentation paper no 101

This is the blog of my presentation of paper no 101 - Macbeth as tragedy of English literature.

This is my presentation video:-

History of English literature from 1900 to 2000

Name: Dhruvita Dhameliya

Roll no : 03

Semester : 2

Year: 2021 to 2023

Subject: History of English literature from 1900 to 2000

Topic : Trends and Movement

E-mail ID:

dhameliyadhruvita24@gmail.com

Submitted to: S. B. Gardi Department of English Maharaja Krishnakumarsinhji Bhavnagar University

Introduction:-

The 20th century opened new visions and possibilities that expanded everyday human experience and greatly influenced the world of art and original painting.From the earliest years of the turn of the century, artists were beginning to experiment with subject matter, creating realities reflective more of their own inner visions than what lay before them in nature. Concurrent with this was a search for new techniques, materials, and approaches to support these forays into new terrains. As a result, 20th century painting movements and trends inspired artists to set out in many divergent directions, resulting in a broad range of styles and forms. Here are some of the major movements that defined and shaped art in the 20th century and which still influence the art being produced today.

Cubism

Dadaism

Expressionism

Imaginism

Surrealism

Symbolism

Avant-garde movement

Futurism

Absurdism

Stream of consciousness

Comedy of menace

So in this I would like to discuss three major movements of the 20th century.

1)Stream of Consciousness:-

In literature, stream of consciousness is a method of narration that describes happenings in the flow of thoughts in the minds of the characters.

The term was initially coined by psychologist William James in his research, The Principles of Psychology. William James, a psychologist in the second half of the nineteenth century, used his philosophy background to coin the phrase "stream of consciousness."

James, often called the Father of American Psychology, said this quickly moving stream of observations and emotions represents the full range of conscious thought. He writes: 

"It is nothing joined, it flows. A ‘river’ or a ‘stream’ is the metaphor by which it is most naturally described. In talking of it hereafter, let’s call it the stream of thought, consciousness, or subjective life.”

Another appropriate term for this device is “interior monologue,” where the individual thought processes of a character, associated with his or her actions, are portrayed in the form of a monologue that addresses the character itself. Therefore, it is different from the “dramatic monologue” or “soliloquy,” where the speaker addresses the audience or the third person. 

The stream of consciousness style of writing is marked by the sudden rise of thoughts and lack of punctuation. The use of this narration style is generally associated with the modern novelist and short story writers of the 20th century.The stream of consciousness technique uses unusual, often grammatically incorrect, sentence structure full of incomplete thoughts and tangents to illustrate how a character thinks.

Why Do Writers Use Stream of Consciousness in Literature?

For centuries, the art of storytelling focused on the events of a story. Stories were expected to be linear. The characters’ thoughts and emotions were often not the driving force of a story. When they were, these thoughts and emotions were written like the rest of the narrative: linearly, with proper grammar conventions.

Stream of consciousness writing, on the other hand, takes you on a journey through a character’s mind. It allows for a grittiness that you can’t achieve with an ordered internal monologue. While stream of consciousness might read somewhat more surrealist than traditional storytelling, it’s the most realistic representation of human thought.

What is the History of Stream of Consciousness Writing?

The late 1800s and early 1900s were a period of major transition throughout much of the world. With economic and social reforms and revolutions occurring from the Americas to Russia, as well as leaps in the sciences, the arts began to transition as well. There was a desire to put an element of humanity into the arts that had been previously overlooked.

In the late 1800s, writers such as Edgar Allen Poe, Leo Tolstoy, and Anton Chekhov began to play with different styles of narration. These authors were predecessors of the Modernist movement.

The Modernism movement was about intentionally breaking writing rules and expectations. Many Modernists, like James Joyce and Virginia Woolf, adopted the idea of stream of consciousness from psychology and applied it to their poetry and literature. The term was first used in 1918 to describe Dorothy Richardson’s novel series "pilgrimage".

How Does Stream of Consciousness Differ from Other Narrative Styles?

Stream of consciousness embraces the chaotic nature of human thought. But because it’s harder to read and even harder to write, most stories do not use it.

In traditional style of writing there is proper structure of the writings and Narrative, for example starting, climax and end or past, present or future. Traditional narrative structure goes relatively in order, although flashbacks and flash forwards can be peppered throughout as their own rhetorical devices. The key to a traditional structure is that each scene occurs linearly and orderly. In a traditional narrative, attention is drawn directly to a character’s thoughts or emotions rather than letting the reader experience those thoughts themselves. These stories don’t have extraneous information that is not crucial to the plot. Emotions are described through sensory detail and character behavior. For example "Orlando - A biography by Virginia Woolf in which the character of Orlando whose gender changed but we came to know about this through the behaviour of Orlando and the way he dressed up.

Stream of Consciousness Writing Examples:-

James Joyce :- Ulysses

In this excerpt, Leopold Bloom’s thoughts transition to his younger self:

He is young Leopold, as in a retrospective arrangement, a mirror within a mirror (hey, presto!), he beholdeth himself. That young figure of then is seen, precious manly, walking on a nipping morning from the old house in Clanbrassil to the high school, his book satchel on him bandolier wise, and in it a goodly hunk of wheaten loaf, a mother’s thought.

Joyce accomplishes this transition by creating a continuous narrative flow of Bloom’s thoughts to his past experiences, bringing the reader along for his mental journey back in time.

2)Surrealism:-

Surrealism is a type of literature in which the author attempts to display irrational or dreamlike qualities in his or her writing.

Surrealism in literature can be defined as an artistic attempt to bridge together reality and the imagination. Surrealists seek to overcome the contradictions of the conscious and unconscious minds by creating unreal or bizarre stories full of juxtapositions.

Founded by Andre Breton (1896-1966), surrealism began as an artistic movement in Paris in the 1920s and lasted until the 1940s. Writer and philosopher Breton propelled this movement with his publication of The Manifesto of Surrealism, as a way of fighting against the way art was understood at the time.

With the horrors of World War I still in Europe's wake, art had become controlled by politics. It came to be used as a way of maintaining order and keeping the revolution at bay. However, surrealists wanted to break free from the constraints being posed on art and to do so in an extreme, yet positive way.

Though they fought against political control, the movement's goal was not political in nature. Surrealism sought to free people spiritually and psychologically. These artists and writers wanted to repair the damage done by WWI. Unfortunately, World War II was on the brink, and such a movement made the surrealists a target. During the rise of Nazism and Fascism, many surrealists were forced to seek haven in America. Fortunately, for American culture, their ideas began affecting changes in the States as well.

While the movement itself may have ended, surrealism still exists in much of today's literature. Using surrealist imagery, ideas, or poetic techniques, writers attempt to stretch the boundaries, free the mind, and make readers think.

Characteristics of Surrealism:-

Strange and Shocking:-

Surrealism is meant to be strange and shocking. It is meant to push the envelope in a way that forces people out of their comfortable ideas, so much so that it has even been known to cause riots. While the idea of surrealism is complex, surrealist literature does have common characteristics. Works of surrealism explore parts of the imagination that extend beyond our known reality. These works may come across as dreamlike or irrational due to their bending the rules or our perception of reality.

Dream and Fantasy Sequences:-

Dream or fantasy sequences are often included in surrealistic works. Sometimes we read an entire work of literature only to find out the entire story was someone’s dream. The Wonderful Wizard of Oz is a great example of a work based entirely on a dream that’s filled with fantasy. 

Irrational Elements:-

When you read a surrealistic work, expect irrationality. The goal of many who write in this style is to free readers from rational thought and the constraints of reality to explore what is possible, or even what can be learned or enjoyed from considering the impossible. An example would be having a person transform into an animal or a book turn into a bird. Another could be a situation in which a piece of furniture represents a gateway to another realm of reality.

The Unconscious Mind:-

In surrealistic works, characters are often driven by their unconscious minds which, of course, lead to behaviors motivated by factors unknown to them. Sometimes readers know, through an omniscient narrator, what is going on, but other times they are left wondering why the character behaves a certain way. This is common in the horror genre, which often includes surrealism. For example, when characters get up and go to a certain place at the same time each day driven by forces of which they are not conscious, such actions are surrealistic.

3) Absurdism:-

A philosophy based on the belief that the universe is irrational and meaningless and that the search for order brings the individual into conflict with the universe

Absurdism is the belief that a search for meaning is inherently in conflict with the actual lack of meaning, but that one should both accept this and simultaneously rebel against it by embracing what life has to offer.

'Absurd' The latter is defined as having no meaning, and therefore, events and actions are not tied to logical chains of events. Absurdist fiction is a genre of literature that came to prominence in the 1950s and 60s. Like other modernist movements, it was inspired by disillusionment with war and how things “were.”

Characteristics of Absurdism:-

1)Nontraditional plot structure

2)Humorous or irrational events

3)Non-Sequiturs

4)Unpredictability

5)Purposeless actions

6)Questioning of the meaning of life

7)Individualistic

8)Explores subjective feelings about existence

Conclusion:- 

This period of rapid changes characterized modern society at the time, leading artists to constantly update and refine their techniques when making art so as to accurately depict the aspirations and dreams of the modern world that had developed. Modernism was a response to the rapidly changing conditions of life due to the rise of industrialization and the beginning of wartime, with artists looking for new subject matter, working techniques, and materials to better capture this change. Whilst artists experimented with new techniques to adequately depict modern life, they also attempted to express the emotional and psychological effects of negotiating a world in rapid changes in their artworks. This was an important element in Modern art, with artists like Henri Matisse and Paul Cézanne exploring their subject matters in-depth and in ways that shocked society.

Word Count:- 1900

References:-

“Absurdism in Literature; Meaning & Characteristics • English Summary.” English Summary, 21 Nov. 2017, https://englishsummary.com/absurdism-literature/.

“Absurd.” Poem Analysis, 2 June 2021, https://poemanalysis.com/genre/absurd/.

Jon Mann. Google Image Result for Https://Artsy-Media-Uploads.s3.Amazonaws.com/tpeijgcosmujxag2t4wcuw%2fcustom-custom_size___salvador-Dali-the-Persistence-of-Memory-1931+2.Jpg, 23 Sept. 2016, https://images.app.goo.gl/6iBDMbj8C6isS2xf9.

Kimberly Gilbert. “Super Summary.” Supersummary, https://www.supersummary.com/stream-of-consciousness-in-literature-definition-examples/.

Krystal N. Craiker. “Stream of Consciousness: What Is It & How to Use.” ProWritingAid, https://prowritingaid.com/stream-of-consciousness.

Literary Divice editor. “Stream of Consciousness - Examples and Definition.” Literary Devices, Metaphor, 13 Jan. 2018, https://literarydevices.net/stream-of-consciousness/.

Metaphor. “Stream of Consciousness - Examples and Definition.” Literary Devices, 13 Jan. 2018, https://literarydevices.net/stream-of-consciousness/.

“Surrealism Definition & Meaning.” Merriam-Webster, Merriam-Webster, https://www.merriam-webster.com/dictionary/surrealism#:~:text=Definition%20of%20surrealism,or%20irrational%20juxtapositions%20and%20combinations.

paper no - 108

Name: Dhruvita Dhameliya

Roll no : 03

Semester : 2

Year: 2021 to 2023

Subject: The American literature

Topic : For Whom the bell tolls

E-mail ID:

dhameliyadhruvita24@gmail.com

Submitted to: S. B. Gardi Department of English Maharaja Krishnakumarsinhji Bhavnagar University

Introduction of the writer:-

Ernest Miller Hemingway was an American novelist, short-story writer, and journalist. His economical and understated style - which he termed the iceberg theory - had a strong influence on 20th-century fiction, while his adventurous lifestyle and public image brought him admiration from later generations. Hemingway produced most of his work between the mid-1920s and the mid-1950s, and he was awarded the 1954 Nobel Prize in Literature. He published seven novels, six short-story collections, and two nonfiction works. Three of his novels, four short-story collections, and three nonfiction works were published posthumously. Many of his works are considered classics of American literature. Hemingway served in World War I and worked in journalism before publishing his story collection In Our Time. He was renowned for novels like, The Sun Also Rises, A Farewell to Arms, For Whom the Bell Tolls, The Old Man and the Sea

 which won the Pulitzer Prize in 1953. In 1954, He committed suicide on July 2, 1961, in Ketchum, Idaho.

Introduction of the Novel:-

The novel is set near Segovia, and tells the story of American teacher Robert Jordan, who has joined the antifascist Loyalist army. Jordan has been sent to make contact with a guerrilla band and blow up a bridge to advance a Loyalist offensive. The action takes place during Jordan’s 72 hours at the guerrilla camp. During this period he falls in love with Maria, who has been raped by fascist soldiers, and befriends the shrewd but cowardly guerrilla leader Pablo and his courageous wife, Pilar. Jordan manages to destroy the bridge; Pablo, Pilar, Maria, and two other guerrillas escape, but Jordan is injured. Proclaiming his love to Maria once more, he awaits the fascist troops and certain death.

Title of the novel:-

The phrase “for whom the bell tolls” comes from a short essay by the seventeenth-century British poet and religious writer John Donne. Hemingway excerpts a portion of the essay in the epigraph to his novel. In Donne’s essay, “For whom does the bell toll?” is the imaginary question of a man who hears a funeral bell and asks about the person who has died. Donne’s answer to this question is that, because none of us stands alone in the world, each human death affects all of us. Every funeral bell, therefore, “tolls for thee.”

Characters of the novel:-

Robert Jordan:-

An American volunteer for the Republican side in the Spanish Civil War and the protagonist of For Whom the Bell Tolls. Robert Jordan is pragmatic, very good at what he does, and never lets his emotions interfere with his work. He appreciates physical pleasures like smelling pine trees, drinking absinthe, and having sex. At the same time, he is conflicted about his role within the war and within the larger world. Interior dialogues in which he argues with himself about these conflicts constitute a significant part of the novel. Over the course of the novel, he gradually resolves these tensions and learns to integrate his rational, thinking side with his intuitive, feeling side.

Pablo:-

The leader of the guerrilla camp. Pablo is an individualist who feels responsible only to himself. Hemingway often compares him to a bull, a boar, and other burly, stubborn, and unpleasant animals. Pablo used to be a great fighter and a great man but has now started drinking and has “gone bad,” as many characters remark. Tired of the war and attached to his horses, Pablo is ready to betray the Republican cause at the start of the novel. Hemingway uses a variety of unflattering imagery to highlight Pablo’s uncooperative and confrontational nature, often comparing Pablo to a bull, a boar, and other stubborn and unpleasant animals.

Pilar:-

 

Pilar is Arguably the most colorful and likable character in For Whom the Bell Tolls, she embodies the earthiness, strength, and wisdom of the Spanish peasantry. A large, robust, part-gypsy woman, Pilar exercises great influence over the band of guerrilleros - in fact, we quickly become aware that Pablo leads the band in name only. The strong and stable Pilar provides the motivating force behind many of the novel’s events. She supports and appreciates Robert Jordan and Maria’s romance, commands the allegiance of the guerrilla fighters, and organizes the guerrilleros’ brief alliance with El Sordo. She acts as the support structure for the camp as she unites the band of guerrilla fighters into a family, cooks for all, and sews Robert Jordan’s packs. In short, Pilar manipulates the most important characters in For Whom the Bell Tolls and sets in place many of the encounters that drive the plot.

Maria:-

The young, gentle Maria catches Robert Jordan’s eye from the moment he meets her. She exudes a natural, glowing beauty, despite the fact that she has recently suffered a traumatic rape and has had most of her hair shorn off. Though she is vulnerable and lays her emotions bare, she exhibits an inner strength, determination, and resilience that enable her to bear her difficult circumstances. Some critics contend that Hemingway intends Maria to represent the land of Spain itself, ravaged by the warring forces beyond her comprehension, yet always enduring, beautiful, and loving. Indeed, Hemingway frequently uses earth imagery to describe Maria, comparing her hair to the “golden brown of a grain field” and her breasts to “small hills.” In this light, Robert Jordan’s closeness with Maria mirrors his closeness with Spain, his adopted country.

These all are major characters of the novel, there are many other characters who helped the team in the blow up the bridge. Like, Anselmo, El Sordo, Rapael, General Gloz or many others.

In the novel we can see themes like, 

1)The Loss of Innocence in War

2)The Value of Human Life

3)Romantic Love as Salvation

1)The Loss of Innocence in War:-

Each of the characters in For Whom the Bell Tolls loses his or her psychological or physical innocence to the war. Some endure tangible traumas: Joaquin loses both his parents and is forced to grow up quickly, while Maria loses her physical innocence when she is raped by a group of Fascist soldiers. On top of these tangible, physical costs of the war come many psychological costs. Robert Jordan initially came to Spain with idealism about the Republican cause and believed confidently that he was joining the good side. But after fighting in the war, Robert Jordan becomes cynical about the Republican cause and loses much of his initial idealism. The victims of violence in the war are not the only ones to lose their innocence - the perpetrators lose their innocence too. The ruffians in Pablo’s ho-metown who participate in the massacre of the town Fascists have to face their inner brutality afterward. An-selmo has to suppress his aversion to killing human beings, and Lieutenant Berrendo has to quell his aversion to cutting heads off of corpses. War even costs the innocence of people who aren’t involved in it directly. War journalists, writers, and we as readers of novels like For Whom the Bell Tolls have to abandon our innocent expectation that wars involve clean moral choices that distinguish us from the enemy. Hemingway shows in the novel that morality is subjective and conditional, and that the sides of right and wrong are almost never clear-cut. With no definite sides of right and wrong in For Whom the Bell Tolls, there is no sense of glorious victory in battle, no sense of triumph or satisfaction that good prevails and evil is defeated. Through the efforts to achieve a kind of balance of nature and man, man and woman, universal harmony between people, Hemingway told us that this kind of harmony is the most difficult thing to struggle to feel consciousness, know ourselves and the nature of the relationships.

2)Value of human life:-

In the novel we can see that how every character has different values of human life, our protagonist Robert Jordan who believes in fighting for the Spanish cause and the other loyalists 

who were engaged in resisting fascist aggression against the democratic setup. Whereas the novelist was out and out enemy of the fascist regime and their policies because of their dictatorial mindset, he was also critical of the loyalists mindless killing of fascists for their barbaric atrocity; the antifascist hero was facing deep conflict about whether they should exterminate the fascist for their atrocities or avoid killing the human beings. They wanted to save humanity from the hands of fascists but at the same time were hesitant of committing the same acts of savagery for which they hated the fascists. They believed, "All mankind is one volume; any man's 

death diminishes me because I am involved in mankind, and therefore never send to know for whom the bell tolls, it tolls for thee." Hemingway was 

definitely divided in his views and political stance. However, Hemingway's political stance depicted in the novel was the consequence of his deep concern for his humanity. On the one hand, he denounced the untold atrocities committed by fascists and saw the necessity of killing the fascists in order to win the war; on the other hand, being sensitive and democratic-republican, he considered 

murdering a person sin against whole humanity, therefore, he stood divided about exterminating fascist. The close reading of the novel reveals that Hemingway did not favor the loyalist and criticized both sides for their lack of humanitarian as well as democratic vision. His vision of war and warring 

factions is that neither of them was absolutely good or absolutely evil; that is why he did not consider either of them fully justified in their actions. He was, first and foremost, a humanist and a democrat, and this is the reason why he raised his voice against any form of aggression and violence against democracy and humanity anywhere in the world.

3)Romantic Love as Salvation:-

In the novel there are two couples but both have a paradoxical relationship, Pilar and Pablo both are husband- wife but we never saw them together even when Pablo cheats on Jordan . At that time Pilar got ready to kill Pablo so both the characters didn't have love. On the other hand, Jordan and Maria fall in love at first sight and both are dreaming of a future together at Marinda. But both are separated at the end of the novel as Robert Jordan is injured during a fight.

"IF YOU DON'T LOVE ME, SHE TELLS HIM!!, I WILL LOVE YOU ENOUGH TO BOTH OF US". Maria to Jordan

Conclusion:-

This novel, which we can see is not only a fictional novel, but also a different understanding about Spanish culture and the effect of war on individuals. The character he portrays in the novel owns their unique features, especially Pilar. Hemingway’s depiction about the imagery also makes a deep impression on the reader which is full of symbolic meaning. This work is worthy to be read thoroughly. 

Word count:-1858

Reference:-

“For Whom the Bell Tolls.” Encyclopædia Britannica, Encyclopædia Britannica, Inc., https://www.britannica.com/topic/For-Whom-the-Bell-Tolls-novel-by-Hemingway.

SparkNote Editor. “SparkNote.” Sparknotes, SparkNotes, 2005, https://www.sparknotes.com/lit/belltolls/themes/.

Wow Essay. “Research Papers about Ernest Hemingway's for Whom the Bell Tolls: Wow Essays.” WOWEssays.com, 31 Mar. 2021, https://www.wowessays.com/free-samples/ernest-hemingways-for-whom-the-bell-tolls-research-papers-example/.

Zuo, Yue. “(PDF) Analysis of the Themes and Artistic Features of for Whom the Bell Tolls.” ResearchGate, Scientific Research Publishing, 1 Jan. 2015, https://www.researchgate.net/publication/276499774_Analysis_of_the_Themes_and_Artistic_Features_of_For_Whom_the_Bell_Tolls.

paper no - 109

Name: Dhruvita Dhameliya

Roll no : 03

Semester : 2

Year: 2021 to 2023

Subject: Literary Theory & Criticism and Indian aesthetics

Topic: Rasa theory 

E-mail ID:

dhameliyadhruvita24@gmail.com

Submitted to: S. B. Gardi Department of English Maharaja Krishnakumarsinhji Bhavnagar University

Introduction of the Indian poetics :-

"Western criticism focused on result

 while Indian criticism focused on process".

 BharataMuni is the first among all critics who pioneered in Indian aesthetics. Some of the noteworthy critics of Sanskrit literature are :-

1) Bharat 

2) Anand vardhan

3) Kuntak 

4)Bhamaha

5) Jagannath

6) Abhinav Gupta

7) Dhananjay

8) Bhoja

9) HemchandraCharya

10) Dandi 

These all are well known critics of Indian poetics who give ideas of all the theories like - Rasa theory , Dhvani Theory , vakrokti theory, Riti theory and Auchitya theory.

"Relation of Word and meaning called literature"

There are The Six Schools and the pioneers of Indian poetics :–

1)Rasa - Bharat

2)Alamkara - Bhamaha

3)Riti - Vamana

4)Dhvani - Anandavardhana

5)Vakrokti - Kuntaka

6)Auchitya - kshemendra

School of Rasa:-

Introduction:-

The concept of rasa is unique to Indian poetics and dramatics and is essentially a creation of the Indian genius-Bharata, which can be considered as an important contribution to the field of performing arts. He presented the rasa formula in context to natya in his Natyasastra. Later on the rasa-sutra became the touchstone for all the poetics. The aim of a dramatic performance is to evoke sentiment or rasa in the mind of the sahrdaya the learned 

audience‘. According to the Natyashastra, 

the major purpose of dance, drama, ritual 

and poetry is catalytic in that aesthetic 

performance should provoke an emotion 

that is already present in members of the 

audience. 

According to BharataMuni, Rasa is the soul of poetry.

रसप्राणो हि नाट्यविघि:

According to this theory whatever we feel we decide that another person also feels the same thing and we conclude that whatever we feel another person also feels the same thing but it isn't true it is our allusion and belief that everyone feels the same thing in one condition.

According to BharataMuni 'Bhava' is more important than the experience of the person. And he says that we are here for instinct not for thinking.

Rasa theory includes everything including Vakrokti, Dhvani and Alankara. 

Rajshekhar wrote granth name - Kavyamimansa. In that he claimed that creator and reader both have capacity to read and feel the art and poem - kavya. And everyone isn't able to do such things and creativity because he/she is average. 

BharataMuni give some characteristics of Rasa and definition of 'Rasa' :-

There is three type through this we got knowledge of the world:-

1) Memory- unchangeable

2) Dream - uncontrollable 

3) Imagination - controllable

।। विभावानुभाव व्यभिचारी संयोगात् रसनिष्पति: ।।

"Rasa is produced from a combination of Determinants (vibhava), Consequents (anubhava) and Transitory States (vyabhicaribhava).

According to Bharatmuni, the realization of Rasa results from the Union of Vibhavas, Anubhavas, and Vyabhikaribhavas. When Sthaibhavas unite with others, the three Bhavas, one attains the quality of Rasa.

This sutra of Bharata is explained by various philosophers and rhetoricians after him till 11th century. The following names are noteworthy in this tradition, BhattaLollata, Srisamkuka, Bhattanayaka

and Abhinav Gupta. While understanding the rasa theory in detail one must understand the above term.

How does the spectator achieve poetic pleasure? What is the process of enjoying the rasa? The celebrated rhetorician, Bharata tries his best to solve this psychological phenomenon in one sentence, say in one Sutra, only and expounded it in much detail:

Bhava, literally, means existence and mental state. In aesthetic contexts, it has been translated as feelings, psychological states and emotions. In the context of the drama, bhavas are the emotions represented in the performance. There are three types of Bhava : Sthayi, Vyabhichari and Satvika explained by Bharata in the natyashastra, Bharata raises the question,

 “ ककं भवन्तीनत भावा ककं वा भावयन्तीनत भावा ”। 

Whether that which happens is bhava or that which causes the manifestation of experience is bhava. And answered of this question is given in this by saying that bhava is that

"उच्यते-वागङ्गस््वोपेतान्काव्याथाथन्भावयन्तीनत भावा इनत” 

Bhavas(emotions): sthayi-bhavas (static emotions), sanchari-bhavas or also called vyabhicari-bhavas and the third is sattvika-bhavas.

1)sthayi-bhavas:-

These are the permanent or dominant moods.Sthaibhavas are the basis of Rasa and are supreme among all Bhavas. Sthaibhavas constitute the principal theme of a composition.They run all emotions like garland and cannot be overpowered by them. Rather the latter feed and strengthen them and help them emerge as Rasa. These all are sthayi bhava , Rati -love, Hasya -humorous, soka - sorrow, krodha- anger, utsaha - enthusiasm, bhaya -fear, jugupsa - disgust and vismaya -wonder. 

2)The vyabhichari-bhavas:-

They are the transitory and temporary mental states.They strike the mind and become the cause of experiencing a permanent mood.They spring out of principal emotion and ultimately merge into it. They are like waves and bubbles that appear and disappear as the mighty stream of dominant emotion flows on, smiling and replying and dancing.They are 33 in numbers. Some of them are weakness, depression, anxiety, despair, etc.

3)The sattvika-bhavas:-

Satvik Bhav are in building bodily responses to the situation, for ex. When someone see an angry person, his body expression represents that he is angry, his bodily expression like his words with full of anger, his eyes with red color, the wrathful emotion on his face are some Satvik Bhav which indicates anger of the person.The sattvika-bhavas are also eight. They are stambha (stunned), sveda (sweating), romanca (thrill), svarabheda (break in voice), vepathu (trembling), vaivarnya (pallor), asru (tears) and pralaya (deluge).

4)AnuBhav:-

They are their effect seen upon the character after the emotions arise in the actor. They make spectators feel or experience Abhinaya by words and gestures.

Rasas are created by bhavas : The state of mind Nothing proceeds on the stage without reference to rasa is Bharata‘s most important pronouncement. 

Meaning of rasah:-

The word Rasa is derived from the root 'rasah' meaning juice, taste or flavour or savour or relish. The extract of a fruit is referred to as 'rasa,' which itself is the essence of it, the ultimate flavour of it. 

"In a metaphorical sense it refers to - the emotional experience of beauty in poetry and drama"

The ultimate goal, purpose of writing, presenting and viewing a play is to experience rasa realization. Rasa is associated with the palate, it is a delight afforded by all forms of art, and the pleasure that people derive from their art experience. 

According to Bharata, rasa or sentiment is the mental condition of delectation produced in the spectator of a play or in the hearer or the reader of a poem, as the inevitable reaction of the bhavas or emotions manifested by the characters.

 In the Indian performing arts, a rasa is a sentiment or emotion evoked in each member of the audience by the art. The Natya Shastra mentions six rasa in one section, but in the dedicated section on rasa it states and discusses eight primary rasa. Each rasa, according to NATYASHASTRA, has a presiding deity and a specific colour. There are 4 pairs of rasas. For instance, Hasya arises out of Sringara. The Aura of a frightened person is black, and the aura of an angry person is red. Bharata Muni established the following:

1)Sringara - (शृङ्गारः): Romance, Love, attractiveness. 

2)Hasyam - (हास्यं): Laughter, mirth, comedy. 

3)Roudram - (रौद्रं): Fury. 

4)Karunyam - (कारुण्यं): Compassion, mercy. 

5)Bibhatsa - (बीभत्सं): Disgust, aversion. 

6)Bhayanakam (भयानकं): Horror, terror. 

7)Veeram - (वीरं): Heroism. 

8)Adbhutam (अद्भुतं): Wonder, amazement.

A ninth rasa was added by later authors. This addition had to undergo a good deal of struggle between the sixth and the tenth centuries, before it could be accepted by the majority of the Alankarikas, and the expression "Navarasa" the nine rasas could come into use.

9)Santam:- शान्त: Peace or tranquility

Rasa is actually the impression created on the mind of the sympathetic audience by the expression of bhavas or emotions and is an experience the individual is subjected to on account of this expression. Bhava is the emotion that creates a sense of enjoyment or experience which in 

itself is an entity and that enjoyment or experience is rasa.

The realisation of Rasa is said to result from the union of three interrelated elements –Determinants (vibhava), Consequents (anubhava) and Transitory States Complementary Psychological States (vyabhicaribhava). The root-cause or the excitant that creates the emotions caused by the determinant is called anubhava or the consequent. Although the words vibhavaand anubhava incorporate the word bhava it may be noted that they are not bhavas. Vibhava, anubhava and bhava are thus intimately connected with one another.

The Natyasastra identifies nine rasas with nine corresponding Bhava (mood):

1. Rati (Love)

2. Hasya (Mirth)

3. Soka (Sorrow)

4. Krodha (Anger)

5. Utsaha (Energy)

6. Bhaya (Terror)

7. Jugupsa (Disgust)

8. Vismaya (Astonishment)

9. Shant (Peace)

Let me discuss three rasah:

1)Sringara:-

Sringara is one of the nine rasas, usually translated as erotic love, romantic love, or as attraction or beauty. Much of the content of traditional Indian arts revolves around the relationship between a man and a woman. The primary emotion thus generated is Sringara. The romantic relationship between lover and beloved is a metaphor for the relationship between the individual and the divine.

Classical dancers consider Sringara as 'the Mother of all rasas.' Sringara gives scope for a Numerous other emotions including jealousy, fear, anger, compassion, and of course for the expression of physical intimacy. No other Rasa has such a vast scope.

2)Hasya:-

Hasya is a Sanskrit word for one of the nine rasas or bhava (mood) of Indian aesthetics, usually translated as humour or comedy.

Hasya often arises out of Sringara as mentioned in Natya Shastra, the classical treatise on the performing arts of Bharata Muni, theatrologist and musicologist.In Gujarati, the word Hasya simply means "laughter".

3)Karuna:-

Karuna is generally translated as compassion or mercy and sometimes as self-compassion or spiritual longing. It is a significant spiritual concept in the Indic religions of Hinduism, Buddhism, Sikhism, and Jainism.

Karun rasa has its central emotions as sorrow and pathos and are found very importantly both in Mahabharata and Ramayana. Bharata states in Natyashastra that Karun rasa means compassionate or the pathetic and sorrowful that comes from the primary rasa of Rudra or the furious. The result (Karma) of furious should be known as the aesthetic experience of compassion. It clears that Rudra is the primary source of the Karun and that leads to pathos or sorrow. In the Natyashastra it is stated that the Karun rasa arises from the permanent 

emotion of sorrows. It proceeds from vibhav such as curse, separation from those who are dear, their downfall, and loss of wealth, death and imprisonment or from content with misfortune , destructions 

and calamity. The soka or sorrow is the sthayi bhava of Karun rasa or the mood that of unhappiness is generated throughout its sthayi bhav i.e. soka or sorrow. 

Conclusion:-

The realization of Rasa is the result of the union of Sthaibhavas, Vibhavas, Anubhavas, and Vyabhikaribhavas. Rasa theory draws a clear distinction between real-life experience and art experience- unordinary. In order to realize Rasa that must possess an adequate degree of intellectual and emotional equipment. To conclude, rasa is that internal enjoyment which is relished not only by the audience but also the actors who perform it. The very fact that Bharata‘s Natyashastra has stood the test of time through all these ages to the Modern age proves its relevance and validity till date even in the 

field of cinema. 

Word count:- 2027

References:- 

“Rasa.” Encyclopædia Britannica, Encyclopædia Britannica, Inc., https://www.britannica.com/art/rasa.

“Rasa Theory (Indian Aesthetics); Summary & Analysis • English Summary.” English Summary, 16 Aug. 2018, https://englishsummary.com/rasa-theory/#:~:text=Rasa%20Theory%20asserts%20that%20entertainment,%2C%20spiritual%20and%20moral%20question).

Sarkar, Somnath, et al. “Rasa Theory of Indian Aesthetics.” All About English Literature, 20 July 2021, https://www.eng-literature.com/2021/05/rasa-theory-of-indian-aesthetics.html.

paper no - 107

Name: Dhruvita Dhameliya

Roll no : 03

Semester : 2

Year: 2021 to 2023

Subject: The twentieth century literature from world war second to the end of the century.

Topic: An Artist of the Floating World - Art.

E-mail ID:-

dhameliyadhruvita24@gmail.com

Submitted to: S. B. Gardi Department of English Maharaja Krishnakumarsinhji Bhavnagar University

Introduction of the writer:-

Kazuo Ishiguro, in full Sir Kazuo Ishiguro, Japanese-born British novelist known for his lyrical tales of regret fused with subtle optimism. In 2017 he won the Nobel Prize for Literature for his works that “uncovered the abyss beneath our illusory sense of connection with the world.”

Notable works:-

1)Klara and the sun

2) Never let me go

3)A pale view of hills

Introduction of the Novel:-

Full Title: An Artist of the Floating World

When Written: 1980s

Where Written: England

When Published: 1986

Literary Period: Post-Postmodern Literature - Realism: New Sincerity.

Genre: Realist Fiction

Setting: An unnamed city in Japan in the years following the end of the Second World War.

Climax: At Noriko’s miai, Ono tells the

Saitos that he admits making mistakes in his career.

Antagonist: Pride; Nationalism

Point of View: First-person

An Artist of the Floating World tells the story of a former artist named Masuji Ono. Ono is both protagonist and narrator, and he provides a highly subjective account of the events that shaped his career, family life, and reputation, grappling with his past as he tells his story. Though the narrative leaps in and out of different periods in Ono’s life, from his first job to his childhood to his role working for the government in World-War II era Japan, the strongest linear thread revolves around the marriage of Ono’s daughter. In the years after the war, Ono works to negotiate a traditional arranged marriage for his younger daughter, Noriko. In light of a failed marriage negotiation for Noriko a year before, in which the groom’s family mysteriously pulled out at the last minute, Ono’s older daughter Setsuko suggests that he visit various old acquaintances. This way he can ensure that, if these acquaintances are interviewed about Ono and his family as part of the negotiation, they will provide positive testimony. Ono believes that Setsuko is politely telling him to find a way to make his past less of a problem, since his career before and during the war has destroyed his reputation. The exact nature of that career occupies much of the space in the novel.

"If on a sunny day you climb the steep path leading up from the little wooden bridge still referred to around here as the "Bridge of Hesitation," you will not have to walk far before the roof of my house becomes visible between the tops of two gingko trees".

Matsuji Ono

Themes:-

Role of Art and the Artist

Intergenerational Conflict

Imperialism and Sovereignty

Aging

Grief

Pedagogy

Marriage

Four types of Art:-

Four kind of Art :-

For Aesthetic delight 

For the voiceless people

For business

For nationalism

In the novel every character has a different view towards art and belief in pursuing art. Some characters in this novel believe that art exists to capture beauty, especially if that beauty will otherwise go unrecorded. Moriyama, for instance, subscribes to such a belief. Other characters, most notably Matsuda, believe that art should exist as part of social and political movements, and that aesthetics should influence rather than imitate life. Ono begins his career under Moriyama's tutelage and is clearly struck by his ideology of art, but Matsuda manages to eventually convert him to his own side. After the war, at the time of the novel's narration, Ono seems torn. His descriptions come alive when they focus on the floating world of Moriyama's paintings, but he also speaks about his political awakening and political art with vivid conviction. In the end, it seems, Ono believes that art is powerful enough to do both, or else - he fears powerless enough to do both without causing any disruption or change.

An Artist of the Floating World presents two visions of what an artist should attempt in his or her work, and of what kinds of goals are achievable through art. For the characters who are artists or who are passionate about art, these different visions are so essential that they can lead to personal conflict.

 One vision of art's purpose is embodied by Ono's teacher Moriyama. Moriyama believes that art should be used to create and mimic beauty, especially fleeting, temporary beauty. Moriyama's art values aesthetics above all, and his students are expected to master difficult techniques in order to capture visual beauty. Matsuda subscribes to the opposite vision. He believes that art should engage with the outside world and be explicitly political. 

According to Matsuda, artists should not hide away from the outside world, but should try to change it. These two artistic visions are presented as the most important ones, and neither Ono nor Ishiguro ever quite chooses one or dismisses another. However, several other ideas about art appear in the book and then fade away as Ono rejects them. One such idea is his father's. Ono's father believes that art is unnecessary and that all artists are degenerates. The other is the mindless assembly-line artistry of Master Takeda's studio, where both ideas and technique are ignored in favor of pure productivity. Ishigure never seriously entertains Takeda's vision of art. Rather, he focuses on Moriyama's and Matsuda's principles, and on the damage that results when one of these visions becomes so hegemonic that artists who diverge are punished.

Ono has ambitions to become a great artist, but has no idea what kind of art he should produce towards achieving this end. Despite Ono’s description of himself as someone who courageously follows his convictions and talent, the actual events of his life suggest a man who follows others opportunistically instead of thinking for himself. Ono’s early works as a teen are paintings of landscapes. He has an incredible facility for capturing the way a specific place looks. Throughout his later career, however, Ono’s work focuses on other subjects, suggesting that he may have abandoned his true talent, simple and familiar as it may have been in the eyes of others. Ono’s first paid work as an artist is producing stereotypically Japanese paintings that are exported to foreigners who exoticize the Japanese tradition. Ono is initially pleased that he is earning a living as an artist, defying his father’s predictions that he would live in squalor if he pursued art as a career. He is also glad to be one of his firm’s leading artists.

 Gradually, however, Ono comes to feel that this commercial work at Master Takeda’s firm is beneath him, and he leaves the firm. Ono spends the next six years at the villa of Seiji Moriyama, or Mori-san. There, Ono paints in the style Mori-san advocates: paintings of “floating world”- or pleasure districts - depicted in a more Western style called Yoga. Mori-san urges his students to live among geishas, drinking late into the night and painting scenes from nightlife, but Ono struggles with doubts about whether this lifestyle is really the path to greatness. His father, after all, predicted that he would spend his life living in squalor if he pursued a career as an artist. Once again, however, Ono earns acclaim. He becomes Mori-san’s favorite student and is allowed to exhibit his paintings alongside his teacher’s. After conversations with the nationalist art-appreciator Matsuda, who teases Ono for being naïve and having a “narrow artist’s perspective,” Ono leaves Mori-san’s villa and begins to create paintings with political messages. While Ono portrays this, in hindsight, as another moment in which he took a courageous risk to follow his artistic convictions, he is once again merely exchanging one person’s doctrine for another. He eventually rises to prominence as a nationalist painter in his city. A cohort of younger artists consider him their teacher, and he wins prestigious awards. However, after Japan’s defeat in the war, the culture of militant nationalism is reviled, and prominent nationalist artists commit suicide. Ono is forced into retirement, which he takes as a sign that his work had an important - albeit now-discredited - impact on his society.

In the end, other characters' statements suggest that Ono’s presentation of himself is skewed, his belief that the courage of his convictions led him to paint original, ground-breaking works that have since been discredited seems nothing more than self-aggrandizement. In his final conversation with Matsuda, Matsuda says that they “turned out to be ordinary men with no special gifts of insight” and that their “contribution turned out to be marginal.” Ono rejects taking Matsuda’s words at face value, saying that there was something in Matsuda's manner that suggested he believed otherwise. In Ono’s last conversation with his daughter Setsuko, she reassures her father that he does not need to feel guilty for encouraging the militarism of the war years because it was not really culturally significant.

The novel’s presentation of a vain and self-deluding artist whose contributions lose their importance with the passage of time gives the title its meaning. Ono feels encouraged by a lifetime of acclaim for his work to believe that his contributions were important and will be remembered. But, in fact, he was only one of the many artists of his time who painted derivative works in styles invented by others. Although Ono leaves Mori-san’s villa and ceases to paint the geishas of the “floating world” of pleasure districts, the ultimate unimportance of his career makes him an “artist of the floating world” in a different sense. Ono finds a transitory success by shaping his work to fit the demands of specific times and places, and by copying others who have gained acclaim. But this world is neither timeless nor permanent; it is transitory, “floating.” The novel shows how the world in which Ono was an important artist is already floating away, superseded by new currents, ideas, events, and artists.

Conclusion:-

Ishiguro creates characters seeking redemption from acts they have committed, which they may 

not be proud of any longer, sometimes acknowledging their past as old homes which seem far 

away from their current paths. Ono’s identity is depicted with great authenticity: he is a Japanese 

painter who struggles to understand where he belongs in a society undergoing deep changes 

during the aftermath of the war. His narrative brings to light the floating grounds of politics and 

history during wartime as he is caught between ambiguous values: he longs for the preservation 

of the ideal of the old customs, although he eventually comes to acknowledge the mistakes of a 

totalitarian regime, while wishing hopefully for the reconstruction of the country.

Insofar as the nation is driven towards a new political and ideological scenario, the artist 

examines his role in history. While agonising over his support for the fascist movement, he 

struggles to accept that his past actions may have endorsed an ideology which has become a 

shameful affair in face of the new liberal democratic ideas suddenly enforced after the rendition. 

Self-deception, memory and desire are at stake when the painter attempts to justify his

nationalist contributions. Contradictory stories inevitably surface when he struggles to bury 

unwelcome memories. Eventually, the artist perceives that there is a floating territory full of 

cheerful young people in transit, walking across a bridge between two worlds; and he feels 

hopeful about their future. While he is contemplating them from a distance, his description 

reminds us of the motifs he used to paint at Mori-san’s villa; paintings that had given him a 

glimpse of the floating world in the past, seem transmuted now into a floating optimistic hope 

for the future of the next generation.

Word count:-1988

References:- 

“An Artist of the Floating World Themes: Course Hero.” An Artist of the Floating World Themes | Course Hero, https://www.coursehero.com/lit/An-Artist-of-the-Floating-World/themes/.

Ishiguro, Kazuo. “An Artist of the Floating World Themes.” GradeSaver, https://www.gradesaver.com/an-artist-of-the-floating-world/study-guide/themes.

        

LitCharts. “An Artist of the Floating World Study Guide.” LitCharts, https://www.litcharts.com/lit/an-artist-of-the-floating-world. 

Turgut, Zeynep Rana. “Looking at the Changing World through a Displaced and Estranged Artist ...” ReasearchGate, 13 Jan. 2017, https://www.researchgate.net/publication/316596194_Looking_at_the_changing_world_through_a_displaced_and_estranged_artist_Kazuo_Ishiguros_an_artist_of_the_floating_world.

paper no-106

Name: Dhruvita Dhameliya

Roll no : 03

Semester : 2

Year: 2021 to 2023

Subject: The Twentieth century literature 1900 to the second world war

Topic: The great Gatsby - Jazz age and American dream

E-mail ID:

dhameliyadhruvita24@gmail.com

Submitted to: S. B. Gardi Department of English Maharaja Krishnakumarsinhji Bhavnagar University

Introduction of Writer:-

F. Scott Fitzgerald was a short story writer and novelist considered one of the pre-eminent authors in the history of American literature due almost entirely to the enormous posthumous success of his third book, The Great Gatsby. Perhaps the quintessential American novel, as well as a definitive social history of the Jazz Age, The Great Gatsby has become required reading for virtually every American high school student and has had a transportive effect on generation after generation of readers. 

Famous works:-

1)'This Side of Paradise' (1920)

2)'The Beautiful and Damned' (1922)

3)'The Great Gatsby' (1925)

4)'Tender Is the Night' (1934)

The Great Gatsby:-

The Great Gatsby is a 1925 novel by American writer F. Scott Fitzgerald. Set in the Jazz Age on Long Island, near New York City, the novel depicts first-person narrator Nick Carraway's interactions with mysterious millionaire Jay Gatsby and Gatsby's obsession to reunite with his former lover, Daisy Buchanan. The novel tells the tragic story of Jay Gatsby, a self-made millionaire, and his pursuit of Daisy Buchanan, a wealthy young woman whom he loved in his youth. The story is all about the American dream and Jazz age, both the themes discussed by Fitzgerald in this novel.

The Great Gatsby is a story told by Nick Carraway, who was once Gatsby's neighbor, and he tells the story sometime after 1922, when the incidents that fill the book take place. As the story opens, Nick has just moved from the Midwest to West Egg, Long Island, seeking his fortune as a bond salesman. Shortly after his arrival, Nick travels across the Sound to the more fashionable East Egg to visit his cousin Daisy Buchanan and her husband, Tom, a hulking, imposing man whom Nick had known in college. There he meets professional golfer Jordan Baker. The Buchanans and Jordan Baker live privileged lives, contrasting sharply in sensibility and luxury with Nick's more modest and grounded lifestyle. When Nick returns home that evening, he notices his neighbor, Gatsby, mysteriously standing in the dark and stretching his arms toward the water, and a solitary green light across the Sound.

"I wish I had done everything on earth with you". f.scott Fitzgerald

In this novel we find many themes like,

1)The Decline of the American Dream 

2)The Hollowness of the Upper Class

3)Love and Marriage

4)Class conflict

5)The Roaring Twenties

1)The Decline of the American Dream:-

The American Dream is one of the major themes in The Great Gatsby. The life of Jay Gatsby himself is an embodiment of the American Dream, as he's a poor farm boy who changes his name and reinvents himself to become wealthy and successful, at least financially. His story is a 1920s jazz age take on the classic rags to riches story, transitioning from a simple life where money is scarce to the riches and extravagance that become possible once one has money.

America in The Great Gatsby is presented mostly through the scope of class: the rich, the poor, and everyone in between are identified by how much money they have. There’s Wilson, the working-class man who has to work constantly to stay afloat, the

Buchanans, who have an unimaginable amount of money, and Nick, who’s

upper-middle-class existence allows him many luxuries, but not everything he wants. Then

There's Gatsby. Even when Gatsby gets to the top, he’s looked down upon by those with old

money.

In Gatsby, the American Dream seems corrupted. Where as it used to stand for independence and the ability to make something of one's self with hard work, in Gatsby, the

American Dream seems more about materialism and selfish pursuit of pleasure. Not to

mention, no amount of hard work can change where Gatsby came from, and the old money

folks maintain their sense of superiority because of that simple fact. The indication is that merit

and hard work aren't enough. The idea of the American Dream proves to be disappointing and

false in Fitzgerald’s classic novel.

Questions About Women and Femininity.

The Great Gatsby thoroughly portrays the behavioral and cognitive shifts within the 1920’s culture and represents the differences between both the original American dream, and the corrupted American Dream.The achievement of the American dream in the novel is highlighted by Fitzgerald’s belief that one must go through the world of men in order to be successful. This is a preview

2)The Hollowness of the Upper Class:-

One of the major theme explored in The Great Gatsby is the sociology of wealth, specifically, how the newly minted millionaires of the 1920s differ from and relate to the old aristocracy of the country’s richest families. In the novel, West Egg and its denizens represent the newly rich, while East Egg and its denizens, especially Daisy and Tom, represent the old aristocracy. Fitzgerald portrays the newly rich as being vulgar, gaudy, ostentatious, and lacking in social graces and taste. For example, Gatsby, lives in a monstrously ornate mansion, wears a pink suit, drives a Rolls-Royce, and does not pick up on subtle social signals, such as the insincerity of the Sloanes’ invitation to lunch. In contrast, the old aristocracy possesses grace, taste, subtlety, and elegance, epitomized by the Buchanans’ tasteful home and the flowing white dresses of Daisy and Jordan Baker which show thari richness.

What the old aristocracy possesses in taste, however, it seems to lack in heart, as the East Eggers prove themselves careless, inconsiderate bullies who are so used to money’s ability to ease their minds that they never worry about hurting others. The Buchanans exemplify this stereotype when, at the end of the novel, they simply move to a new house far away rather than condescend to attend Gatsby’s funeral. Gatsby, on the other hand, whose recent wealth derives from criminal activity, has a sincere and loyal heart, remaining outside Daisy’s window until four in the morning. Simply to make sure that Tom does not hurt her. Ironically, Gatsby’s good qualities of loyalty and love lead to his death, as he takes the blame for killing Myrtle rather than letting Daisy be punished, and the Buchanans’ bad qualities fickleness and selfishness allow them to remove themselves from the tragedy not only physically but psychologically.

3)Love and marriage:-

Fitzgerald develops the theme of love and marriage by demonstrating the challenges that people encounter in finding their true love. According to Bani-Khair, The character of Gatsby is determined to get Daisy and the love is “almost futile, unreal, and more like an unattainable imaginary concept” because his attempts were rather incongruous from the start. The inference is that Fitzgerald wants readers to imagine people do not get want they want particularly when love is concerned. Rather, humans encounter rejection when they show their romantic interest. "Bani-Khair add Gatsby’s romantic dream is not only imaginary but also the ideal perspective of love that is usually unattainable". Furthermore, Fitzgerald develops the theme of love and marriage so that it is inseparable from wealth. Hodo says Daisy is portrayed as a beautiful, naive teenager who falls for Gatsby against her family’s wish and readers can deduce her romantic interest is because of his money. More so, Fitzgerald ensures Daisy’s love-life including her marriage to Tom years later is because of his wealth. Daisy is torn between staying in a marriage with Tom and a now-wealthy Gatsby who has been pursuing her. 

Love is caring for each other, supporting one another through tough times, always being by your partner’s side no matter what happens in life, good and bad. In this story the American dream of being wealthy gets in the way of true love. In most of these relationships love is missing, marriage had become a game, it was ok to go behind one another’s back to achieve their dark goal, abusiveness acceptable. For example, “Tom Buchanan broke Myrtle's nose with his open hand.” Take Jay Gatsby for example a man in love with a rich, young and beautiful woman named Daisy. He knew the only way for her to even notice him would be if he was rich. He lived in the illusion that money equals happiness and that followed him till the day he died. Nothing made him happy he always wanted more and more. Sure his love for money made him wealthy but whether he had nothing or all the money in the world he could still not buy true love.

4)Class conflict:-

Throughout the novel ,The main conflict exists between three distinct social classes:-

 

1)The old-money

2)The new-money 

3)The no-money

Tom and Daisy Buchanan descend from old-money and, therefore, felt as if they should inherit certain rights. They believe that their birth gives them power, similar to the idea of divine right.

 New-money is represented by the character Jay Gatsby. While the source of his money is originally unknown, it is obvious to other characters in the novel that Gatsby lacks certain social abilities that are bred into the characters from old-money.

 Finally, the no-money class is displayed through George and Myrtle Wilson, for they have worked all their lives and are unable to get enough money and success in life.

The Buchanans could be labeled with several unsavory characteristics:- careless, materialistic, slothful, and even childish, in Daisy’s case. Most importantly, the Buchanans lack the ability to face the consequences of their actions. Daisy tells Nick, 

“I hope she 'll be a fool — that 's the best thing a girl can be in this world, a beautiful little fool You see, I think everything 's terrible anyhow And I know. I 've been everywhere and seen everything and done everything", About the life she hopes for her daughter. Daisy doesn’t want her to have to make hard decisions. She wants her to live an easy life, in which she is oblivious to the real problems that surround her. Daisy has realized that the life she’s living doesn’t make her happy, but it’s easy for it to be familiar. In other words, he doesn’t care how he accomplishes it as long as he receives his happy ending with Daisy.

5)The Roaring Twenties:-

In the novel The Great Gatsby F. Scott Fitzgerald coined the term "Jazz Age" to describe the decade of decadence and prosperity that America enjoyed in the 1920s, which was also known as the Roaring Twenties. After World War I ended in 1918, the United States and much of the rest of the world experienced an enormous economic expansion. The surging economy turned the 1920s into a time of easy money, hard drinking despite the Prohibition amendment to the Constitution, and lavish parties. Though the 1920s were a time of great optimism, Fitzgerald portrays the much bleeker side of the revelry by focusing on its indulgence, hypocrisy, shallow recklessness, and its perilous—even fatal—consequences.

Conclusion:-

Although the main events of the novel end with Gatsby’s murder and George’s suicide, The Great Gatsby concludes with a chapter in which Nick reflects on the aftermath of Gatsby’s death. This final chapter furnishes Nick with more information about the mysterious Gatsby and his struggle to climb the social ladder. Nick meets Gatsby’s father, Henry C. Gatz, a “solemn” and “helpless” old man who believed his son had a bright future. Mr. Gatz also discovers and shares with Nick records of Gatsby’s self-improvement routines, saying: “Jimmy was bound to get ahead.” In addition to shedding light on Gatsby’s character, the final chapter also demonstrates just how alone Gatsby really was in life. Although Nick contacts many of Gatsby’s acquaintances as he organizes the funeral, almost no one shows up to pay respects. Daisy, who has run away with Tom, doesn’t even bother to send flowers or a note. The only person to appear, aside from Nick and Mr. Gatz, is Owl Eyes, who concludes the funeral with words that sum up Gatsby’s tragic life:

 “The poor son-of-a-bitch.”

Word count:- 2039

Reference:- 

Mathenge, Michael. “The Theme of Love Marriage in Fitzgeralds the Great GATSBY20190926 51414 2t0b1e.” Academia.edu, 26 Sept. 2019, https://www.academia.edu/40447921/The_Theme_of_Love_Marriage_in_Fitzgeralds_The_Great_Gatsby20190926_51414_2t0b1e.

“Research Paper: The Great Gatsby: The American Dream - Andrea Sciortino Professor Steinbrink AWR 201.” StuDocu, https://www.studocu.com/en-us/document/the-university-of-tampa/writing-and-research/research-paper-the-great-gatsby-the-american-dream/6699129.

Sparknotes, SparkNotes, https://www.sparknotes.com/lit/gatsby/themes/#:~:text=The%20Hollowness%20of%20the%20Upper%20Class&text=In%20the%20novel%2C%20West%20Egg,in%20social%20graces%20and%20taste.