MEG 05 Solved Assignment 2022-23
Literary Criticism & Theory
MEG 05 Solved Assignment 2021-22 : All assignments are in PDF format which would be send on email/WhatsApp (9958676204) just after payment.
Max. Marks: 100
Answer
all questions.
1.
Discuss Aristotle's view of literature as imitation.
20
Aristotle's view of literature as imitation Word
imitation has great importance in literature. Aristotle explained meaning of
this word in order to defend poetry which is called Aristotle’s concept/theory
of imitation. Although he was not first to use this word yet he comes first in
redefining its meanings. Word “imitation” was used as a synonym of copy of copy
before Aristotle. Plato used this word for the first time. He was of the
considerable view that poetry was shadow of a shadow, thus, it was twice away
from reality.
Aristotle answered Plato and refuted charge against
poets. He redefined meanings of imitation. Aristotle's view of literature as
imitation, Regardless of that whole concept of idea and copy remained the same.
In simple words, Aristotle agreed that the world was created from an idea and
the world was its copy. He also agreed that a poet imitated the reality/nature
but meaning of word imitation did not mean mere copy. He did not consider
poetry twice away from reality.
Imitation is a creative process in the eyes of
Aristotle. He links poetry with music instead of painting. He says that poetry
is pleasant just like a flute’s sound that is full of harmony, therefore, it is
not right to compare poets with painters and poetry with painting. A poet,
further says Aristotle, does not present things as they appear but bestows them
his imagination. Hence, poetry is not the process of seeing things and simply
converting it to words; a poet reinvents things with his imagination and experiences.
Imitation
Vs. Reality and History:
If imitation is the name of copying facts then there
must be no creativity in poetry. As mentioned earlier, Aristotle argues that a
poet presents men in action. He presents men as they were or are or as they ought
to be. If men are being presented as they are without any blend of imagination
and creative power then it is not poetry but history. Creativity differentiates
history from poetry. A historian may also write about the sorrows and pains,
suffered by humans, but it would not necessarily be filled with emotions.
Strong power of imagination is required to convert ordinary and simple
incidents to extraordinary events so that they cause “catharsis”. Aristotle’s
redefined “imitation” is the only concept/theory, through which poetry becomes
highly effective.
Upshot of the above discussion is that Aristotle has
encouraged the poets to write poetry. He blows a new soul to the word
“imitation”. Plato’s charges against the poets have successfully been refuted
by Aristotle in his book “Poetics”. Aristotle’s concept/theory of imitation
shows the world that it is not mere a procedure of copying things but a
creative process, which requires high imaginative powers. Hence, it cannot be
called duplicating things. It is a process of creating something astonishing
from ordinary things with the help of strong vision. A poet, hence, through
imitation brings things closer to reality instead of taking them twice away
from reality.
2. What
do Wordsworth and Coleridge have to say on poetic diction.
20
Wordsworth himself isn't free from review. Coleridge is
the first critic to denounce his views expressed in"Preface to the Lyrical
Ditties". He's particularly critical of his proposition of lyrical diction
and his defence of metre. He exposes numerous sins of Wordsworth's proposition.
Wordsworth addresses of a named and purified language. Coleridge argues that
similar type of language would differ in no way from the language of any other
men of firm. After similar selection, there would be no difference between the
rustic language and the language used by common men in their ways of life.
Again Wordsworth permits the use of metre inferring a particular order and
arrangement of words. So Coleridge concludes that there's and there ought to be
an essential difference between the language of prose and rhythmic composition.
Metre medicates the whole atmosphere and the language of poetry is bound to
differ from that of prose. The use of metre is as artificial as the use of
lyricaldiction.However, it's absurd to prohibit the use of the other, If one is
allowed. Both are inversely good sources of lyrical pleasure.
Coleridge objects to Wordsworth's views
on the use of common language. He says that the views can be applicable only in
some cases. Again when the rustic language is purified of its crassness and
oddities would be virtually the same as the language used by any other class of
men. Likewise, Coleridge feels that the language of the countrymen would prove
to be too skimp to give the suitable diction for the expression of varied
gests. He also criticised the"Preface"for the dispensable obscurity
of its ultimate half. The diction employed is also unnecessarily elaborate and
constrained.
Coleridge again refuses that stylish corridor of our
language are deduced from nature. The stylish words are abstract nouns and
generalities. These are deduced from the reflective acts of the mind. This
reflection grows as man advances from the so- called primitive state. As man
has advanced in study, he has acquired new ideas and generalities which can not
be expressed through the use of rustic language which is primitive
and undeveloped. However, he must also suppose like the countrymen, If the
minstrel wants to use the rustic language. The language of the countrymen is
curiously affordable. It would be putting the timepiece back. Rather of
progression, it would be regression.
Coleridge refutes Wordsworth's judgement of
Gray's sonnet. He also quotes a many lines from The Faerie Queene by Edmund
Spenser. He shows that the language used in them is by no means the language of
ordinary. This language would by no means be used in prose. Coleridge also
argues that Wordsworth'sover-emphasis on his proposition of lyrical style was
maybe a response against the garish pretension of the kind of style which had
been current in poetry in the 18th century.
Similar are the sins of Wordsworth's proposition. It
must also be admitted that he didn't cleave to his proposition in his own
practice. Reversed and lyrical constructions are frequent in his poetry. His
vocabulary is frequently not drawn from rustic life. He doesn't always use the
language of real men of the countrymen of Cumberland. He doesn't exercise his
own proposition in his"Tintern Abbey"," Eternity
Ode"and"The Prelude". The language of the runes isn't the
language of common man. So his proposition is frequently either inconsistent with
his practice or simply shy as a proposition.
Still, Wordsworth's proposition of lyrical
diction is significant and far- reaching. But it's full of contradictions and
limitations. Wordsworth fails to maintain it in his own runes too.
So"Preface to the Lyrical Ditties"is inept in argument and
conventional of expression. Coleridge crtiticises Wordsworth's proposition of
lyrical diction to a great extent. His assessment isn't fully right. We may
agree with him that there's surely a difference between the language of prose
and the language of poetry. At the same time, we must honor the value of
Wordsworth's proposition of lyrical diction.
3. Write
short notes on the following:
4 x 5 = 20
(a)
Catharsis
(b)
Auchitya
(c)
Superstructure
(d)
'Pleasure' and 'instruction' as ends of literature
4. What
does I. A. Richards talk about in Practical Criticism?
20
5.
Comment on Lacan's main contribution to critical theory.
20
MEG 05 Solved
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