Vita and Virginia

 This Blog task is assigned by Prakruti Bhatt mam, as a part of movie Screening review.

About Movie :

Vita & Virginia is a 2018 biographical romantic drama directed by Chanya Button, with a screenplay by Button and Eileen Atkins, based on Atkins' 1992 play Vita & Virginia. The film stars Gemma Arterton, Elizabeth Debicki, and Isabella Rossellini. Set in the 1920s, it explores the passionate love affair between Vita Sackville-West and Virginia Woolf.

The film had its world premiere at the Toronto International Film Festival on 11 September 2018 as part of the Special Presentation section. It was later released in the United Kingdom on 5 July 2019, followed by its United States release on 23 August 2019.

• How do the letters function not only as a medium of communication between the two central characters but also as narrative tool within the film?

In Vita and Virginia, letters are not just a way for Vita Sackville-West and Virginia Woolf to communicate they are the heart of their relationship and a key part of the storytelling. Through their letters, the two women share their deepest thoughts and feelings, creating a connection that goes beyond physical presence. The letters allow them to express emotions and ideas that they might struggle to say in person, especially given the social constraints of their time.

These letters also play a major role in moving the story forward. They reveal important moments in their lives and help us understand their personalities better Vita’s adventurous charm and Virginia’s reflective intensity.

 The film brings the letters to life by showing the text on screen or using voiceovers, making it feel as if we’re stepping directly into their world. This technique doesn’t just tell the story; it also highlights the beauty and power of their words, much of which comes from their real-life correspondence.

Visually, the film captures the act of writing and reading letters in a beautiful way. Whether it’s a quiet moment at a desk or a scene of someone receiving a letter, these moments feel alive and full of meaning. The letters aren’t just pieces of paper they are symbols of their love, creativity, and connection.

• Discuss some of the views regarding marriage, relationship and the role of society presented by the various characters in the film.

In Vita and Virginia, the views on marriage, relationships, and the role of society are portrayed through the characters' different perspectives, shaped by both their personal experiences and societal pressures.

Virginia

Virginia Woolf’s view of marriage is conflicted and marked by a sense of emotional isolation. Although she is married to Leonard Woolf, her relationship with him seems more about companionship than emotional or romantic fulfillment. Throughout the film, Virginia struggles with the constraints of society and the roles it expects her to play. In one pivotal scene, Virginia says,

“I do not want to be a muse, a wife, a mother... I want to be myself.”

This line encapsulates Virginia's internal conflict, where she feels that marriage, and the expectations that come with it, stifle her intellectual and personal freedom. The film suggests that Virginia sees her marriage as a necessity, but not the emotional refuge she desires. Her relationship with Vita provides her a form of liberation, where she can express herself without the burden of societal expectation.

Vita 

Vita Sackville-West’s perspective on marriage and relationships is much more liberal and open-minded. While she is married to Harold Nicolson, Vita believes that marriage is a flexible institution, and she is not bound by conventional rules. Vita maintains a complicated but respectful marriage with Harold, acknowledging their emotional distance while still accepting the freedom they both have. In her interactions with Virginia, Vita expresses her view that

“Why must love be restricted to one person?”

This line shows that she does not believe love, or fulfillment, has to be confined to the traditional boundaries of marriage. Instead, she views relationships as fluid, shaped by personal needs and desires. For Vita, her romantic and emotional connections, including with Virginia, are about personal growth and self-expression, rather than adhering to societal constraints.

Harold 

Harold Nicolson’s view of marriage is more traditional and focused on duty. He seems to accept the emotional complexities of his marriage to Vita, including her relationship with Virginia. His attitude towards marriage is pragmatic, emphasizing its role in social order and stability. One of his lines in the film,

“Marriage is not just for love, but for the sake of society, of order,” 

reflects his belief that marriage should not be solely about emotional fulfillment. Instead, Harold sees it as a social contract, fulfilling certain roles and obligations that go beyond romantic love. His character represents the idea that marriage is a way to maintain societal norms, even if it doesn't meet all of the emotional or romantic needs of the individuals involved.

The Role of Society

The film critiques the societal norms and expectations that heavily restrict the characters, especially the women, and how these influence their views on marriage and relationships. Throughout the film, both Virginia and Vita struggle with society's demands to conform to roles like wife, mother, and muse. The film uses their interactions to show how they are torn between personal desires and societal pressure. In one scene, Virginia voices her frustration with the limited role society imposes on her: 

“I don’t want to be just a wife.” 

This powerful line demonstrates Virginia's desire to break free from the restrictive societal labels placed on women, revealing her need for intellectual and emotional freedom.

The film also shows the tension between personal fulfillment and societal expectations, especially when it comes to women’s roles. Vita challenges this by choosing relationships that allow her more freedom, while Virginia yearns for a deeper connection that is not confined by traditional marriage. Both women seek a life that allows for self-expression and emotional authenticity, not bound by the constraints of society.

•  In your opinion, is the film able to capture Woolf's depressive state with sincerity & genuity?

In my opinion, Vita and Virginia does a good job of capturing Virginia Woolf's depressive state, though it is somewhat stylized. The film shows Virginia's emotional struggles through her expressions, body language, and her letters to Vita. Scenes of isolation and moments of reflection on her mental state convey her inner turmoil and vulnerability.

The use of lighting and close-up shots highlights Virginia's sense of being trapped in her own mind. The letters exchanged between her and Vita give us a deeper look into her fragile emotions. However, the film might not fully show the intensity of Virginia's depression as she described it in her personal writings. While it highlights her sensitivity and emotional depth, the film doesn’t explore the full complexity of her mental health as deeply as Woolf did in her own work.

 While the film portrays Virginia's depression in a heartfelt way, it simplifies some aspects of her mental health struggles for a more accessible portrayal. Still, it does succeed in showing her vulnerability and emotional conflict.

• Share your thoughts about the portrayal of the relationship between Virginia Woolf and Vita Sackville West.

Initiation of the Relationship:

In Vita and Virginia, the relationship begins with Vita’s initiative. She approaches Virginia with admiration and curiosity, eager to meet the writer she respects. Vita’s boldness contrasts with Virginia’s more reserved nature, and their first meeting is an intellectual and emotional spark that quickly moves beyond formalities.

 Vita’s willingness to engage with Virginia shows her desire to explore a deeper connection, beyond just admiration for Virginia’s work.

First Meeting:

Their first encounter is emotionally charged and sets the foundation for their relationship. It’s clear from the beginning that this meeting holds something more than mere intellectual exchange. Vita’s forwardness allows Virginia to explore her emotions in a way she hasn’t before. The scene is intense, with both women recognizing the potential for a profound bond. Their chemistry is evident, and it’s in this moment that their emotional connection begins to form.

Development of Their Relationship:

As the relationship evolves, the film shows how Virginia and Vita provide emotional and intellectual support to each other. Vita inspires Virginia creatively, helping her explore her own feelings and desires, while Virginia offers Vita deep, meaningful conversations that she can't find elsewhere. Their relationship is both a source of creative inspiration and emotional growth. Virginia’s writing, including Orlando, is influenced by their connection. Their bond is based on mutual respect and the freedom to express themselves.

The Final Meeting:

The final meeting between Virginia and Vita is filled with sadness and longing. By this point, Virginia’s mental health struggles and Vita’s responsibilities create emotional distance. The film portrays this moment as one of closure, as both women reflect on what they’ve shared, knowing their relationship can’t fully transcend the limitations placed upon them by their personal lives and societal expectations. It’s a poignant ending to their story, emphasizing the complexity and tragic beauty of their connection.

Emotional and Intellectual Depth:

Throughout their relationship, both women offer each other emotional depth and intellectual stimulation. Virginia finds in Vita a muse who challenges her creative boundaries, while Vita discovers in Virginia someone with whom she can have profound conversations. Their relationship isn’t just romantic it’s a meeting of minds that allows them to break free from the constraints of traditional gender roles and societal expectations.

Societal Constraints:

Despite their intense connection, the film acknowledges the societal constraints they face. Virginia is restricted by the expectations of being a wife and writer, while Vita is bound by her marriage. These limitations impact their relationship, yet their bond remains a rare space where they can express themselves outside of the roles society imposes. Their relationship is both an escape and a reflection of their struggles with societal expectations.

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images : 11

videos : 01

I.A. Richards : Reading poems

 Practical Criticism by I.A. Richards 

This blog task is assigned by Prof.Dilip Barad sir, as part of thinking Activity. which focused on I.A. Richards' practical criticism regarding figurative language. Here you can check on teacher's Blog 

 Here, I share my initial impressions of a poem, focusing on my first reactions, the challenges I faced in understanding it, and how I overcame those difficulties. 

A work of Artifice

The bonsai tree

in the attractive pot

could have grown eighty feet tall

on the side of a mountain

till split by lightning.

But a gardener

carefully pruned it.

It is nine inches high.

Every day as he

whittles back the branches

the gardener croons,

‘It is your nature

to be small and cozy,

domestic and weak;

how lucky, little tree,

to have a pot to grow in’.

With living creatures

one must begin very early

to dwarf their growth:

the bound feet,

the crippled brain,

the hair in curlers,

the hands you

love to touch.

- Marge Piercy

Analysis according to my view 

• When I first encounter with the first couple of lines of poem , immediately I search for it in Google because im curious to see bonsai tree and I found something like that picture 

The poem describes a bonsai tree that could have grown tall and strong in the wild but has been carefully pruned and shaped by a gardener to fit into a small pot. The gardener speaks to the tree, convincing it that being small, cozy, and weak is its natural state and a blessing. The poet then compares this act of dwarfing the tree’s growth to similar practices with living beings, where individuals are restricted and shaped from an early age, resulting in their potential being stunted.

I. A. Richardson's concept of figurative language

Sense: The poem describes a bonsai tree, pruned and confined by a gardener, symbolizing how society limits individual growth. It connects this to oppressive practices like bound feet and intellectual suppression.

Feeling: The poem evokes sadness for the stunted tree and anger at the gardener, representing societal control. It creates empathy for those whose potential is restricted.

Tone: The tone is ironic and critical, especially in the gardener’s words, mocking how oppression is justified as care.

Intention: The poem aims to critique societal norms that restrict freedom and growth, urging readers to question and challenge these systems.

Words which I felt difficult to understand 

Pruned  - a potted plant (such as a tree) dwarfed (as by pruning) and trained to an artistic shape

whittles- to reduce, remove, or destroy gradually as if by cutting off bits with a knife 

croons-to sing or speak in a gentle murmuring manner

crippled-someone who is disabled or deficient in a specified manner 

Query on poem 

1) Last stanza of poem is somewhat difficult for me to understand 

2) Does the poem provoke empathy for the tree, or does it focus more on criticizing the gardener’s actions?

3) What is the significance of the absence of the tree’s voice or resistance in the poem?

4) How does the gardener's statement in the second stanza, that the bonsai tree is "lucky" to grow in a pot, contrast with the tree's potential growth in its natural environment as described in the first stanza?

References 

https://www.researchgate.net/publication/377146653_IA_Richards_-_Figurative_Language_-_Practical_Criticism?__cf_chl_tk=7pxvepbB65v6F_r61FFRZYaF2vs6cKUE.jMGKO7.Y2M-1735383180-1.0.1.1-7aOeOxzSaQPA3QlikRvjqa5d5xFSYfsB5rIxerDoqYM

War Poetry

This blog is assigned by Prakruti Bhatt ma'am as a part of thinking Activity.

For basic idea of war poetry you can check out from this video 

➡Choose one poem from the English literary cannon which deals with the theme of war and compare it with any one of the five war poems you have studied in this unit. 

For this I'm Comparing"Dulce et Decorum Est" by Wilfred Owen with "The Charge of the Light Brigade" by Alfred Lord Tennyson.

Introduction 

War has always been a powerful theme in literature, evoking a range of emotions and perspectives. Two quintessential war poems, Wilfred Owen's "Dulce et Decorum Est" and Alfred Lord Tennyson's "The Charge of the Light Brigade," represent contrasting views on the experience and meaning of war. While Owen's poem presents the grim realities of combat, Tennyson's poem glorifies the valor and sacrifice of soldiers. 

Themes

"Dulce et Decorum Est": The Horrors of War

Wilfred Owen critiques the glorification of war by exposing its harsh and traumatic realities. His firsthand experience as a soldier during World War I shaped his perspective, and the poem reflects his outrage at the suffering caused by blind nationalism. The title itself, which translates to "It is sweet and proper to die for one’s country," is used ironically, as the poem dismantles this patriotic ideal. Through vivid imagery, Owen conveys the brutality of trench warfare, the physical and psychological toll on soldiers, and the futility of their sacrifice.

"The Charge of the Light Brigade": Heroism and Sacrifice

Tennyson’s poem, inspired by the infamous charge of British cavalry during the Battle of Balaclava in the Crimean War, celebrates the bravery of soldiers who followed orders despite the odds. The poem immortalizes their sacrifice, portraying their loyalty and courage as noble and praiseworthy. Tennyson does not dwell on the suffering or futility of war but focuses on the collective heroism of the “six hundred.” The theme resonates with Victorian ideals of duty and honor, even when faced with a tragic military blunder.

Style and Structure

"Dulce et Decorum Est"

Owen employs free verse and an irregular structure to mirror the chaos of war. The poem's fragmented rhythm and abrupt shifts reflect the unpredictable and violent nature of battle. The jarring transitions, such as the sudden gas attack described mid-poem, heighten the tension and immerse the reader in the soldiers' experience. The disjointed structure also underscores the disorientation of war. For instance:

"Gas! Gas! Quick, boys! – An ecstasy of fumbling,

Fitting the clumsy helmets just in time;"

"The Charge of the Light Brigade"

Tennyson's poem is highly structured, with a rhythmic pattern that mimics the galloping of horses. The poem's meter, repetition, and parallelism create a sense of momentum and inevitability, reflecting the forward motion of the cavalry charge. The refrain “Rode the six hundred” emphasizes their collective identity and reinforces their heroic image. For example:

"Half a league, half a league,

Half a league onward,

All in the valley of Death

Rode the six hundred."

The controlled rhythm contrasts with the chaos of Owen’s poem, reflecting Tennyson’s focus on grandeur rather than destruction.

Language and Imagery

"Dulce et Decorum Est"

Owen’s language is graphic and visceral, designed to confront the reader with the grim realities of war. His descriptions of the soldiers as “Bent double, like old beggars under sacks” and “coughing like hags” strip away any romanticized notions of military glory. The imagery of the gas attack is especially harrowing:

"And flound’ring like a man in fire or lime...

As under a green sea, I saw him drowning."

Owen uses sensory details sight, sound, touch, and even smell to immerse the reader in the horrors of the battlefield.

"The Charge of the Light Brigade"

Tennyson’s imagery is more abstract and heroic, evoking a sense of grandeur. Metaphors like “the jaws of Death” and “the mouth of Hell” elevate the soldiers’ actions to a mythic level. The language is deliberately less graphic, focusing instead on the soldiers' bravery and the magnitude of their sacrifice:

"Into the valley of Death

Rode the six hundred."

While Owen forces the reader to confront war’s brutality, Tennyson offers a more sanitized, almost cinematic view, avoiding explicit descriptions of death and sufferin.

Tone 

"Dulce et Decorum Est"

The tone is bitter, angry, and condemning. Owen writes with a sense of disillusionment, challenging the idealistic propaganda that glorifies war. The final lines, which call the patriotic maxim a lie, encapsulate his scorn:

"The old Lie: Dulce et decorum est

Pro patria mori."

 

"The Charge of the Light Brigade"

The tone is reverent and celebratory. Despite acknowledging the futility of the charge (“Someone had blundered”), Tennyson emphasizes the soldiers' unwavering commitment to duty. The poem is an ode to their heroism, ending on a note of admiration:

"When can their glory fade?
O the wild charge they made!
All the world wondered."

Treatment of War

"Dulce et Decorum Est"

Owen portrays war as dehumanizing, focusing on the individual suffering of soldiers. His critique is deeply personal, drawing from his own trauma. The poem challenges the reader to reconsider the morality of war and the societal narratives that glorify it. The focus is on the waste of life and the psychological scars left on survivors.

"The Charge of the Light Brigade"

Tennyson frames war as a stage for heroic acts, emphasizing collective honor rather than individual suffering. The soldiers are depicted as noble and selfless, their sacrifice serving as a testament to their loyalty and courage. The poem does not dwell on the consequences of war but celebrates its participants' valor.

Difference

Perspective

Wilfred Owen’s “Dulce et Decorum Est” is written from a first-person perspective, immersing readers in the immediate and personal experience of a soldier. The poem conveys the raw emotions and physical suffering of the speaker, making the horrors of war deeply intimate and relatable. In contrast, Alfred Lord Tennyson’s “The Charge of the Light Brigade” adopts a third-person perspective, presenting the events as a distant observer. This detachment allows Tennyson to focus on the collective heroism of the soldiers, rather than individual suffering, creating a broader and more abstract narrative.

Tone

The tone of “Dulce et Decorum Est” is bitter and condemning. Owen vividly criticizes the glorification of war and those who perpetuate the idea that dying for one’s country is noble. His anger and frustration resonate throughout the poem, particularly in the scathing conclusion. On the other hand, “The Charge of the Light Brigade” is reverent and celebratory. Tennyson honors the bravery and sacrifice of the soldiers, portraying them as noble heroes despite the futility of their mission. The tone elevates their actions as a symbol of courage and duty.

Imagery

Owen employs graphic and grotesque imagery to highlight the physical horrors of war. Scenes of gas attacks and the agonizing death of a soldier choking on gas are described in visceral detail, leaving a lasting impression of war’s brutality. In contrast, Tennyson uses abstract and heroic imagery, such as the “valley of Death,” to evoke grandeur and bravery. The imagery in “The Charge of the Light Brigade” romanticizes war, focusing on the valor of the soldiers rather than the gruesome reality of their deaths.

Message

The message of “Dulce et Decorum Est” is unmistakably anti-war. Owen denounces war as meaningless and traumatic, dismantling the notion that there is honor in dying for one’s country. He exposes the lies of wartime propaganda and the devastating impact of war on soldiers. Conversely, “The Charge of the Light Brigade” conveys a pro-war sentiment, emphasizing the honor and glory in bravery and sacrifice. Despite the disastrous outcome of the charge, Tennyson immortalizes the soldiers as paragons of courage and duty.

Structure

The structure of “Dulce et Decorum Est” is irregular and chaotic, mirroring the disarray and unpredictability of war. Its uneven rhythm and fragmented lines reflect the physical and emotional turmoil experienced by soldiers. In contrast, “The Charge of the Light Brigade” is rhythmic and ordered, with a steady meter that echoes the relentless advance of the cavalry. This structured form reinforces the sense of unity and discipline, underscoring the soldiers’ bravery even in the face 

of certain death.

Similarities

 Focus on Soldiers:

 Both poems center on the experiences of soldiers, whether as individuals or a collective, highlighting their courage and endurance.

Criticism of Leadership:

 Both poems implicitly critique those in command. In "Dulce et Decorum Est," Owen condemns the societal leaders who propagate the “old Lie.” In "The Charge of the Light Brigade," Tennyson hints at the blunder that led to the unnecessary deaths.

Memorability :

Both poems feature iconic lines that resonate with their themes. Owen’s “The old Lie” contrasts sharply with Tennyson’s “Theirs not to reason why, / Theirs but to do and die.”

➡War poetry is not necessarily ‘anti-war’. It is, however, about the very large questions of life: identity, innocence, guilt, loyalty, courage, compassion, humanity, duty, desire, death." Discuss this statement in the context of any two of the war poems you have studied.

The statement emphasizes that war poetry, while often associated with anti-war sentiment, primarily engages with profound existential and moral questions such as identity, innocence, guilt, and mortality. In the context of Rupert Brooke’s “The Soldier” and Wilfred Owen’s “Dulce et Decorum Est,” this distinction is particularly significant, as the two poems provide contrasting perspectives on war, both grappling with its deeper implications.

"The Soldier" by Rupert Brooke: Romanticizing War and National Identity

Rupert Brooke’s “The Soldier” is a sonnet that glorifies war and emphasizes patriotism. Written during the early stages of World War I, it reflects the idealistic and romantic view of war prevalent at the time. Brooke portrays the soldier’s death as a noble sacrifice, contributing to the greater good of his nation.

Identity and Nationalism:

The speaker’s identity is intertwined with England. The opening lines, “If I should die, think only this of me: / That there's some corner of a foreign field / That is forever England,” suggest a sense of eternal belonging to one’s country, even in death. For Brooke, the soldier’s identity transcends his individual existence and merges with the essence of England.

Innocence and Idealism:

Brooke’s portrayal of war is devoid of brutality or suffering. Instead, he frames the soldier’s death as a spiritual act that sanctifies the land. This reflects the innocence and naivety of those who viewed war as a noble venture.

Mortality and Sacrifice:

The poem emphasizes the permanence of the soldier’s contribution to his nation. Death is not a loss but a transformation, where the soldier becomes a symbol of England’s glory and virtue.

In this sense, Brooke’s poem is not anti-war but rather a celebration of the virtues of duty, loyalty, and patriotism, viewing war as a means to achieve immortality and honor.

"Dulce et Decorum Est" by Wilfred Owen: The Horrors of War

Wilfred Owen’s “Dulce et Decorum Est” starkly contrasts Brooke’s romanticism, providing a visceral depiction of the physical and psychological horrors of war. Written during the later stages of World War I, Owen’s poem dismantles the myth of the noble soldier’s death.

Humanity and Dehumanization:

Owen vividly describes soldiers as “bent double, like old beggars under sacks.” This imagery strips them of their dignity, portraying them as broken and weary. The dehumanizing impact of war emerges as a central theme.

Guilt and Trauma:

The gas attack described in the poem highlights the speaker’s sense of helplessness and survivor’s guilt. The haunting image of the soldier dying, “guttering, choking, drowning,” lingers in the speaker’s mind, reflecting the psychological scars left by war.

The Futility of War:

Owen’s use of irony in the closing lines “The old Lie: Dulce et decorum est / Pro patria mori” challenges the glorification of war propagated by earlier poets like Brooke. The phrase, meaning “It is sweet and fitting to die for one’s country,” is exposed as a cruel falsehood, underscoring the senseless suffering inflicted by war.

While Owen critiques the romantic ideals of war, his poem also delves into universal questions of mortality and the ethical implications of war, revealing its devastating impact on individuals and humanity as a whole.

Comparison 

Both poems address the existential questions of life and death but from opposite perspectives:

Brooke celebrates war as a means to achieve honor and eternal unity with one’s homeland.

Owen, on the other hand, exposes the brutality and futility of war, challenging the idealism found in Brooke’s work.

Together, these poems exemplify how war poetry transcends mere political or ideological commentary to engage with profound questions about identity, duty, humanity, and mortality. While Brooke romanticizes war, Owen’s realism forces readers to confront its harsh realities, making both contributions vital to understanding the complexities of war poetry.

➡Compare Ivor Gurney's The Target with Wilfred Owen's Dulce et Decorum Est. What are some notable similarities and differences between these two war poets and their poetry?

Ivor Gurney’s “The Target” and Wilfred Owen’s “Dulce et Decorum Est” are powerful examples of war poetry, capturing the harrowing realities of World War I. Both poets, as soldiers, experienced the brutalities of war firsthand, which profoundly shaped their work. However, their thematic focus, tone, and stylistic approach reveal both similarities and key differences.

Similarities

Shared Anti-War Sentiment:

Both poems reject the glorification of war and reveal its devastating impact on soldiers.

In “Dulce et Decorum Est,” Owen exposes the horrors of gas attacks and the psychological toll of witnessing death, calling the idea of a noble death for one’s country “The old Lie.”

Gurney’s “The Target” delves into the soldier’s inner conflict and guilt over killing, presenting war as morally destructive.

 Focus on the Soldier’s Experience:

Both poets concentrate on the personal perspective of the soldier rather than glorifying nationalistic ideals.

Owen uses vivid imagery to depict the physical suffering of soldiers: “Bent double, like old beggars under sacks.”

Gurney, through the voice of a soldier, reflects on his actions and humanity, saying, “I shot him, and it had to be / One of us.”

 Realism and Brutality:

The poems employ unflinching realism to portray the grim realities of war.

Owen’s graphic description of a soldier choking on gas “guttering, choking, drowning” highlights the visceral horrors of combat.

Gurney’s soldier reflects on the guilt of killing and the inevitability of death, stating, “He thought of the man he killed, and of his own approaching end.”

Critique of War’s Emotional Toll:

Both poets explore the psychological scars of war.

Owen’s poem reflects the trauma of witnessing a comrade’s death, as the memory haunts the speaker.

Gurney emphasizes the soldier’s remorse and his longing for familial forgiveness, showing the moral injury inflicted by war.

Differences

Tone and Perspective:

Owen’s tone is overtly bitter and accusatory. He directly condemns those who perpetuate the myth of war’s nobility, targeting his critique at society and propagandists.

Gurney’s tone is introspective and personal. He focuses more on the soldier’s inner turmoil and moral dilemmas rather than directing blame outward.

Themes of Guilt and Responsibility:

In “The Target,” the soldier acknowledges his personal responsibility for killing, which haunts him: “For it was him or me.” The poem explores the individual’s struggle with guilt and humanity.

Owen’s “Dulce et Decorum Est” does not focus on guilt but rather on the shared suffering of soldiers and the injustice of war, emphasizing collective victimhood.

Imagery and Style:

Owen employs graphic, detailed imagery to shock the reader into understanding the horrors of war. His descriptions of the gas attack are vivid and relentless, creating a nightmarish effect.

Gurney’s imagery is subtler and more focused on the soldier’s emotional state. His reflection on his actions, thoughts of home, and longing for his mother create a poignant and personal atmosphere.

Critique of Propaganda:

Owen explicitly critiques war propaganda with the phrase “The old Lie: Dulce et decorum est / Pro patria mori,” challenging the glorification of war and blind patriotism.

Gurney does not explicitly address propaganda but instead presents a more personal and philosophical meditation on the morality of war.

Conclusion

Both “The Target” and “Dulce et Decorum Est” are poignant critiques of war, exposing its physical, emotional, and moral toll. However, Owen’s poem is more accusatory and outwardly critical of societal myths about war, while Gurney’s is introspective, focusing on the personal guilt and humanity of the soldier. Together, these poems provide complementary perspectives on the complexities of war, highlighting its devastating effects on both individual lives and collective conscience.

References 

.“." Poetry for Students. . Encyclopedia.Com. 25 Dec. 2024 .” Encyclopedia.Com, Encyclopedia.com, 25 Dec. 2024, www.encyclopedia.com/arts/educational-magazines/dulce-et-decorum-est?hl=en-US. 

T.S. Eliot - Criticism - Tradition and Individual Talent

This blog post is based on a task given by Dr. Dilip Barad Sir. In this blog, I will share my interpretation of the various questions related to T. S. Eliot's important essay in New Criticism, "Tradition and the Individual Talent." 

For background reading you can check here by clicking on Teacher's Blog.

Thomas Stearns Eliot

Thomas Stearns Eliot also known as T.S. Eliot. He was born on September 26, 1888 in St. Louis, Missouri, U.S. and died on January 4, 1965, in London, England. He was an American-English poet, playwright, literary critic, and editor. He was a leader of the Modernist movement in poetry in such works as The Waste Land (1922) and Four Quartets (1943).

How would you like to explain Eliot's concept of 'Tradition'? Do you agree with it? What do you understand by 'Historical Sense'? 

Ans 

T.S. Eliot's concept of Tradition in his essay "Tradition and the Individual Talent" is centered around the idea that a writer must not work in isolation but rather in continuous dialogue with the literary tradition that precedes them. According to Eliot, tradition is not merely the past, but something that must be actively integrated into a writer's creative process. He believes that every new work of literature adds to and modifies the existing tradition, just as the tradition influences and shapes new works. For Eliot, Tradition is an ongoing, evolving concept where the present is always connected with the past.

The term Historical Sense, as defined by Eliot, refers to the ability of a writer to not only acknowledge the pastness of the past but to recognize its presence in the present moment. This perception is what connects a writer to the tradition and gives their work continuity and relevance. 

The two key lines that define this concept are:

"The historical sense involves a perception, not only of the pastness of the past but of its presence."

"This historical sense, which is a sense of the timeless as well as of the temporal, and of the timeless and of the temporal together, is what makes a writer traditional."

Eliot suggests that a writer must see the past as something that is still alive and active, rather than as something fixed or relegated to the past. The historical sense, therefore, is not just about remembering or understanding what has been written, but about comprehending how the past actively informs the present. Eliot asserts that a true poet or writer must be aware of the past's influence on their work while simultaneously innovating within the existing tradition.

In his own poetry, Eliot combines elements of the classical literary tradition with modernist techniques to explore contemporary issues. In "The Waste Land," he draws on myth, religious references, and classical works while using fragmented, modernist language and form to create a new type of poetry. This synthesis of the past and present is a reflection of what Eliot refers to as the historical sense. By understanding and interacting with the timeless and the temporal together, a writer creates something that is both rooted in tradition and fresh in its innovation.

Do I agree with Eliot's Concept of Tradition?

Yes, I agree with Eliot's concept of Tradition. Literature is a product of its time but also a conversation across time. To ignore the rich literary tradition that precedes us would be to miss out on the layers of meaning and context that have shaped and continue to shape our cultural and intellectual landscapes. Writers, in a sense, inherit a legacy of ideas, forms, and themes, and they contribute to this ever-expanding dialogue through their own unique voices. This process is essential for the evolution of literature and culture.

Eliot’s idea also highlights the fact that a writer does not create in a vacuum, and their work cannot be understood in isolation. Rather, it is always in relation to what has come before. Thus, literature functions not just as a reflection of its time, but also as a continuous conversation with the past, which is still very much present.

What is the relationship between “tradition” and "individual talent,” according to the poet T. S. Eliot? 

Ans

In T. S. Eliot's essay "Tradition and the Individual Talent," he explores the complex relationship between "tradition" and "individual talent." According to Eliot, tradition is not something that restricts creativity but rather provides a foundation for individual talent to flourish. He argues that to create something truly new, a poet must first understand and be aware of the literary tradition that has come before them. In other words, the individual talent is enriched and shaped by the tradition it emerges from, and the poet’s work is both a continuation and transformation of past literary achievements. For Eliot, tradition is not a static concept; it is dynamic and constantly evolving, allowing new voices to contribute to its growth.

Explain: "Some can absorb knowledge; the more tardy must sweat for it. Shakespeare acquired more essential history from Plutarch than most men could from the whole British Museum."

This quote reflects Eliot's view on how great writers like Shakespeare learn from history and literature. He suggests that while some people can easily grasp knowledge, others may need to put in more effort to understand it. In Shakespeare’s case, Eliot points out that he gained more profound insights into history from Plutarch's Lives than many people could by reading an entire library. This emphasizes the idea that a deep, meaningful understanding of tradition and history doesn't come from simply accumulating information but from engaging with it thoughtfully and critically. For Eliot, Shakespeare’s talent lay in his ability to take what he learned from Plutarch and transform it into something timeless and universally resonant.

Explain:"Honest criticism and sensitive appreciation are directed not upon the poet but upon the poetry."

Eliot believes that criticism should focus on the work of art itself, rather than the poet who created it. The role of a critic is to assess the poetry in terms of its merits, its place within the tradition, and its emotional or intellectual impact. By concentrating on the poem and its qualities, rather than the poet's personal life or character, criticism becomes more objective and focused on the art. Eliot advocates for a type of criticism that is sensitive to the poetry's intricacies, offering an understanding of its relationship to the tradition and its innovation. This perspective allows the poem to be evaluated on its own terms, rather than being overshadowed by the poet's individual identity.

How would you like to explain Eliot's theory of depersonalization? You can explain this with the help of a chemical reaction in the presence of a catalyst agent, platinum. 

Ans

Eliot's Theory of Depersonalization

In T. S. Eliot’s theory of depersonalization, he argues that the poet’s personal emotions or experiences should not dominate their work. The poet must detach their personal self from the creation of poetry. Eliot compares this process to a chemical reaction in the presence of a catalyst agent, like platinum. Just as platinum facilitates a chemical reaction without being consumed or changing in the process, a poet should act as a catalyst in the creation of poetry, facilitating the transformation of emotion into art but remaining detached and unaffected by the outcome.

In this analogy:

Platinum represents the poet’s individual self, which plays a crucial role in the creation of the poetry but does not interfere or affect the final product.

The chemical reaction symbolizes the transformation of raw emotions and experiences into poetry, which is shaped by the poet’s craft and the influence of literary tradition.

The poet, through depersonalization, allows their emotions to be channeled and transformed, not as a direct reflection of their own feelings but as something universal and accessible to the reader. The result is a more objective, refined, and universally relevant poem.

"Poetry is not a turning loose of emotion but an escape from emotion; it is not the expression of personality but an escape from personality."

This statement from Eliot highlights his view of poetry as a form of artistic restraint and transformation. He argues that poetry is not about expressing raw emotion or personal experience in an uncontrolled manner. Instead, it is a way of escaping from these emotions and personal tendencies, allowing them to be shaped and structured into something more impersonal, universal, and artistic. The poet’s personal feelings are not meant to dominate or drive the poem but to be distanced and transformed into something that resonates with a broader audience.

Escape from Emotion: Poetry allows the poet to distance themselves from their immediate feelings, turning intense emotions into something more structured and controlled. It’s about channeling raw emotion into art, not simply venting it.

Escape from Personality: Instead of focusing on the poet’s individual identity or emotions, poetry transcends the personal to create something that speaks to the human experience as a whole. It becomes a work that connects with readers beyond the poet's own life and experiences.

Critique of T.S. Eliot as a Critic

Overemphasis on Tradition:

Some critics argue that Eliot places too much emphasis on tradition and past works, which might limit the scope for originality and innovation in literature. His idea of tradition being essential for an individual poet’s growth could be seen as restricting creative freedom, especially for modern or experimental writers who seek to break away from past influences.

Impersonality vs. Emotional Expression:

Eliot’s view that poetry should be impersonal, that the poet should escape from their own emotions, has been critiqued for downplaying the personal, emotional, and subjective aspects of poetry. Many believe that poetry, by nature, should reflect the poet’s unique emotional and personal perspective, and Eliot’s detachment from this process may seem to dismiss the emotional depth that makes poetry resonate with readers on a personal level.

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References 

Barad, Dilip. “T. S. Eliot: Tradition and Individual Talent.” Dilip Barad’s Blog, 13 Dec. 2014, https://blog.dilipbarad.com/2014/12/t-s-eliot-tradition-and-individual.html?m=1. Accessed 25 Dec. 2024.

Bhuva, Pooja. “Tradition and Individual Talent.” Pooja Bhuva’s Blog, 22 Jan. 2023, https://poojabhuva666.blogspot.com/2023/01/tradition-and-individual-talent.html?hl=en-US. Accessed 25 Dec. 2024.

Eliot, T.S. "Tradition and Individual Talent." ResearchGate, www.researchgate.net/publication/377083958_Tradition_and_Individual_Talent_-_TS_Eliot. Accessed 24 Dec. 2024.