Aristotle’s Definition of Tragedy and its Elements:

         It is clearly seen that Aristotle was more interested in tragedy rather than comedy or epic. In his Poetics, he compares tragedy to such other metrical forms as comedy and epic. Aristotle identifies tragedy as the most refined version of poetry dealing with lofty matters He traces a brief and speculative history of tragedy as it evolved from dithyrambic hymns in praise of the god Dionysus. He defines tragedy as – 

“Tragedy then is an imitation of an action, that is serious, complete and of a certain magnitude, the language embellished with each kind artistic ornaments, the several kind being found of in separate part of the play, in form of action not narrative, through the pity and fear, effecting a proper purigation of these harmful emotions…”

       Aristotle’s Definition of Tragedy can be divided in to two parts – the first part of the definition deals with the nature of the tragedy which including first three clauses. The first part of the definition discusses the following three aspects:

(i) The Object: The nature of tragedy is defined by what is imitated.

(ii) The Medium: By that in which imitation occurs.

(iii) The manner: How the imitation occurs.

        The second part of the definition describes the function of tragedy. The function of tragedy is ‘Katharsis’ (catharsis), which Aristotle did not care to explain it in detail.

        Aristotle says that tragedy is an imitation of an action. The action of tragedy should be serious and complete and of certain magnitude. The language of tragedy should be embellished (decorated) with the each kind of ornaments. Its various ingredients (components) should be traced separately. The form of tragedy should not be narrative. The tragedy should be presented in such a way that it can arouse pity and fear. It should be capable of effecting proper ‘catharsis’ or a purgation of fear and pity.

        Thus, Aristotle’s definition of tragedy indicated several elements of tragedy. According to him a tragedy consists of six elements. They are as under:

(1) Plot   (2)   Character   (3)   Thought   (4)   Diction   (5) Songs/Melody   (6)   Spectacle

Let’s discuss elements of tragedy in brief:

Plot:

Aristotle has regarded the plot as the most important I tragedy. Plot means the arrangement of the incidents or situation. He says that tragedy is an imitation but not a men but an imitation of action and life, of happiness and misery. And life consists of action, and its end is a mode of activity, not a quality. Without plot there cannot be tragedy.  And so Aristotle says that –

 “Plot is the soul of the tragedy.”

Aristotle goes on to discuss the structure of the ideal tragic plot and spends several chapters on its requirements. He says that the plot must be a complete whole — with a definite beginning, middle, and end — and its length should be such that the spectators can comprehend without difficulty both its separate parts and its overall unity. Moreover, the plot requires a single central theme in which all the elements are logically related to demonstrate the change in the protagonist's fortunes, with emphasis on the dramatic causation and probability of the events. In short plot must contain a powerful appeal to the emotion of pity and fear. The plot is the first principle in tragedy.

Character: 

character determines men's qualities, but it is their action that makes them happy or wretched. The purpose of action in the tragedy, therefore, is not the representation of character: character comes in as contributing to the action. Hence the incidents and the plot are the end of the tragedy; and the end is the chief thing of all. Without action there cannot be a tragedy; there may be one without character. . . . The plot, then, is the first principle, and, as it were, the soul of a tragedy: character holds the second place.

Aristotle has given four types of hero and the characteristics:

 a) A good man-coming to bad end,

 b) A bad man-coming to good end,

 c) A bad man-coming to bad end,

 d) A rather good man-coming to bad end. 

      He gives the idea about error of judgment. Just one weakness in the hero's character makes his downfall. That character's misfortune effects the entire people staying round about him. Aristotle terms it as “Hamartia”. Later A.C. Bradley translates it as “Tragic Flaw”. Thus, the character is second important element of tragedy. The character of tragedy must be good and appropriate; character should be real and they may be like reality in action

Thought:

      Concerning Thought, we may assume what is said in the Rhetoric, to which inquiry the subject more strictly belongs. Under Thought is included every effect which has to be produced by speech, the subdivisions being,--proof and refutation; the excitation of the feelings, such as pity, fear, anger, and the like; the suggestion of importance or its opposite. Now, it is evident that the dramatic incidents must be treated from the same points of view as the dramatic speeches, when the object is to evoke the sense of pity, fear, importance, or probability. The only difference is, that the incidents should speak for themselves without verbal exposition; while the effects aimed at in speech should be produced by the speaker, and as a result of the speech. For what were the business of a speaker, if the Thought were revealed quite apart from what he says?

Diction:

       Next, as regards Diction. One branch of the inquiry treats of the Modes of Utterance. But this province of knowledge belongs to the art of Delivery and to the masters of that science. It includes, for instance,--what is a command, a prayer, a statement, a threat, a question, an answer, and so forth. To know or not to know these things involves no serious censure upon the poet's art. For who can admit the fault imputed to Homer by Protagoras,--that in the words, 'Sing, goddess, of the wrath,' he gives a command under the idea that he utters a prayer? For to tell some one to do a thing or not to do it is, he says, a command. We may, therefore, pass this over as an inquiry that belongs to another art, not to poetry.

Songs/Melody:

       Song is one of these embellishments. Aristotle says that the chorus should have importance like the actor. They should integrate into the play like an actor. It should have contribution to the plot of the play. Its purpose is also to evoke or intensify the emotion of the audience.  It was a necessary part in Greek drama.

Spectacle:

       The spectacle is the pleasure of tragedy. Spectacle is the overall visual appearance of the stage and the actor. ''the production of spectacular effects depends more on the art of the stage machinist than on that of the port.''  It is related with the stage performance. But he also says that those who rely on spectacle create a sense which is not of the terrible, but only of the monstrous effect.

Character Sketch of Mr. Uttersen in 'DR. Jekyll and Mr. Hyde',

             Except for the last two Chapters, most part of the novel is seen through the eyes of Mr. Utterson, In the novel Mr. Uttersen  functions as the "eyes" of "conscience" through which we can evaluate most of the novel.Therefore We can say that - 

              'if Utterson is deceived in his opinion of some event, then the reader is likewise deceived. This is because Utterson is such a fine, objective narrator who represents a highly moral and upright person; thus, we believe all that he says, and since he is a man of such prominence and integrity, we cannot doubt his explanation or his view of any event.'

            Utterson is a strange case of opposites. We first hear that he has a fond of wine but mortifies himself with gin instead. This, at first, sounds weird for a moral narrator, but then we are told that he is not censorious — that is, he is not anxious to judge and condemn his fellow man. This allows many people of differing degrees to come to him to seek advice, and it allows him to be privy to the secrets of the great and the less great. Yet, he also possesses an intense loyalty to his friends and is constantly concerned for their welfare. This attribute allows him to be deeply distressed over Dr. Jekyll's relationship with Mr. Edward Hyde. That is, Utterson is a shrewd judge of character, and he sees in Edward Hyde an immoral and evil person, and he is deeply concerned for his friend's (Dr. Jekyll's) well-being.

       For example, when he is convinced that Edward Hyde has injured Dr. Jekyll, he is quick to take action and break down the door to the laboratory in order to come to his friend's aid.

         Utterson is also the type of person who inspires trust — and deservedly so. When his friend Dr. Lanyon leaves a note not to be opened until Dr. Jekyll's death or disappearance, he is tempted to read it in order to see if there is any information which will assist Dr. Jekyll. Yet his honor forces him to store the document away without reading it.

       Ultimately, we do not know how Utterson is affected by the revelation found in Dr. Lanyon's and Dr. Jekyll's confessions, but from the horror of seeing Dr. Jekyll at the window, when Dr. Jekyll apparently began changing into Hyde, we can assume that Utterson was deeply affected, but due to his objective control over life and its vicissitudes — as a lawyer he has seen all types of criminals — we can assume that, unlike Dr. Lanyon, Utterson was able to survive.

Central Theme and Symbolism in Dr. Jekyll and Mr. Hyde

The Duality of Human Nature

         Dr. Jekyll and Mr. Hyde centers upon a concept of humanity as dual in nature,  we  does not find this theme in the begininig  but, when we read the complete story , at the end of the story  the Jekyll-Hyde relationship is revealed. There the theme of The Duality of Human Nature emerges, We conformely find the theory of a dual human nature explicitly only after having witnessed all of the events of the novel, including Hyde’s crimes and his ultimate eclipsing of Jekyll. The novel is not only the dipiction of  duality of human nature but it also forces uf to think about the hight of this duality.

        Jekyll claims that “man is not truly one, but truly two,” and he imagines the human soul as the battleground for an “angel” and a “demon,” and  they were struggling for mastery. But his potion id different and he try to purify each element, but he  succeeds only in bringing the dark side into being.  Once unleashed, Hyde slowly takes over, until Jekyll ceases to exist. If man is half angel and half demon, one wonders what happens to the “angel” at the end of the novel.

       Perhaps the angel gives way permanently to Jekyll’s devil. Or perhaps Jekyll is simply mistaken: man is not “truly two” but is first and foremost the primitive creature embodied in Hyde, brought under tentative control by civilization, law, and conscience. According to this theory, the potion simply strips away the civilized veneer, exposing man’s essential nature. Certainly, the novel goes out of its way to paint Hyde as animalistic—he is hairy and ugly; he conducts himself according to instinct rather than reason; Utterson describes him as a “troglodyte,” or primitive creature.

       Yet if Hyde were just an animal, we would not expect him to take such delight in crime. Indeed, he seems to commit violent acts against innocents for no reason except the joy of it—something that no animal would do. He appears deliberately and happily immoral rather than amoral; he knows the moral law and basks in his breach of it. For an animalistic creature, furthermore, Hyde seems oddly at home in the urban landscape. All of these observations imply that perhaps civilization, too, has its dark side.

        Ultimately, while Stevenson clearly asserts human nature as possessing two aspects, he leaves open the question of what these aspects constitute. Perhaps they consist of evil and virtue; perhaps they represent one’s inner animal and the veneer that civilization has imposed. Stevenson enhances the richness of the novel by leaving us to look within ourselves to find the answers.

The Importance of Reputation

          For the characters in Dr. Jekyll and Mr. Hyde, preserving one’s reputation emerges as all important. The prevalence of this value system is evident in the way that upright men such as Utterson and Enfield avoid gossip at all costs; they see gossip as a great destroyer of reputation. Similarly, when Utterson suspects Jekyll first of being blackmailed and then of sheltering Hyde from the police, he does not make his suspicions known; part of being Jekyll’s good friend is a willingness to keep his secrets and not ruin his respectability. The importance of reputation in the novel also reflects the importance of appearances, facades, and surfaces, which often hide a sordid underside. In many instances in the novel, Utterson, true to his Victorian society, adamantly wishes not only to preserve Jekyll’s reputation but also to preserve the appearance of order and decorum, even as he senses a vile truth lurking underneath.

SYMBOLISM

      Symbols are objects, characters, figures, or colors used to represent abstract ideas or concepts.

Jekyll’s House and Laboratory

       Dr. Jekyll lives in a well-appointed home, characterized by Stevenson as having “a great air of wealth and comfort.” His laboratory is described as “a certain sinister block of building … [which] bore in every feature the marks of profound and sordid negligence.” With its decaying facade and air of neglect, the laboratory quite neatly symbolizes the corrupt and perverse Hyde. Correspondingly, the respectable, prosperous-looking main house symbolizes the respectable, upright Jekyll. Moreover, the connection between the buildings similarly corresponds to the connection between the personas they represent. The buildings are adjoined but look out on two different streets. Because of the convoluted layout of the streets in the area, the casual observer cannot detect that the structures are two parts of a whole, just as he or she would be unable to detect the relationship between Jekyll and Hyde.

Hyde’s Physical Appearance

           According to the indefinite remarks made by his overwhelmed observers, Hyde appears repulsively ugly and deformed, small, shrunken, and hairy. His physical ugliness and deformity symbolizes his moral hideousness and warped ethics. Indeed, for the audience of Stevenson’s time, the connection between such ugliness and Hyde’s wickedness might have been seen as more than symbolic. Many people believed in the science of physiognomy, which held that one could identify a criminal by physical appearance. Additionally, Hyde’s small stature may represent the fact that, as Jekyll’s dark side, he has been repressed for years, prevented from growing and flourishing. His hairiness may indicate that he is not so much an evil side of Jekyll as the embodiment of Jekyll’s instincts, the animalistic core beneath Jekyll’s polished exterior.

Characteristics of The Pre Raphaelite Poetry

         The Victorian period is remarkable because of its various trends. The Pre Raphaelite movement was started by D. G. Rossetti in mid ninetieth century. It was originally not a literary but an artistic movement. Rossetti himself was a painter. He felt that contemporary painting has become a formal and unrealistic. He wanted to go back to the realism, sensuousness and devotion to detail. There were features of art of Indian painter before a Raphael. Rossetti and other member of the group were both the poet and painter. Thus the Pre Raphaelite poetry came in to existence in poetry. The movement was against contemporary poetry of Tennyson and others. According to him contemporary poetry is deals with the problems of society. The wanted to write poetry based on aesthetic pleasure.

       Pre Raphaelite poetry was influenced by several poets of thirteenth century of Italy. The group of poet was inspired by Spencer’s symbolism and sensuousness of Keats and mysticism of Shelly in the Pre Raphaelite poetry.

Let us discuss the remarkable feature of the Pre Raphaelite Poetry.

Break With Tradition:

       Pre Raphaelite poetry was revolt against the set tradition of the poet like Tennyson. The Pre Raphaelites opposed the over concern of poets like Tennyson and those poets were depicting contemporary social and political problems. The Pre Raphaelite poets escaped from the realism of such poetry. They took shelter in a dream world of their own.

Medievalism:

        The middle age influenced many poets before Raphael. The Romantic poet like Keats, Coleridge, and Scott under such influenced. D. G. Rossetti and Morris has special urge for medievalism. They were attracted to the Romantic chivalry, mystery and supernaturalism of the Middle Ages. Rossetti’s poem ‘The Blessed Damozel’ and ‘Sister Hallen’ are full of spirit of Middle Ages. Most work of Morris like the ‘Earthly Paradise’ and so connected with the spirit.

Devotion to Detail:

            The Pre Raphaelites were connected more about particular in their painting and in their poetry. The devotion to detail purely visual in both painting and poetry. The detail of poetry was both auditory as well as visual. Every Pre Raphaelite poet had this tendency. D. G. Rossetti’s ‘The Blessed Damozel’ is devoted to detail.

Sensuousness:

           Like Rossetti most Pre Raphaelite poets were painter as well as poet. We find the element of sensuousness in their poetry. The poets of group were more devoted to detail. Whenever he described human body or physical passion, they deal it in detail. The result was the poetry becomes sensuous. The poem ‘Silent Moon’, and ‘The Blessed Damozel’ have a quality. Because of the sensuousness the Poetry of The Pre Raphaelite is also blamed to the flaccid.  

Art for Art’s sake:

           The Pre Raphaelites were the advocate of the theory of art for art’s sake. They aimed to give perfect and finish to their poetry. Like Dryden and Pope the movement was artistic. It revolted against didacticism and philosophy of Tennyson and Morris. Morris himself calls him – ‘an idle singer of an empty day’. He advised to the moral and spiritual issues from the poetry.

Music and Melody:

        The Pre Raphaelite poetry is rich in music. The Pre Raphaelite poet cultivated it with special efforts. The poetry has the quality of the wave of the Melody. The poetry of Swinburne is indeed musical and melodious. His ‘The Garden of Proserpine’ is musical having electoral and rhyme.

Picturesqueness:

        The Pre Raphaelite poetry was strongly pictorial because of those writes who wrote a natural work. They were mostly a painter also. The aim of those poets was to create the landscape painting in poetry. This poetry is notable for its word picture like –

“The blessed damozel leaned out,

From the gold bar of heaven”.

Love of Symbolism:

          Another remarkable characteristic of movement was its love of symbolism. This is Medieval note and Rossetti learnt it from Dante. William Morris and A C Swinburne  also obediently used symbolism.

Kinship with the Romantic Literature:

       The Pre Raphaelite poetry is very close to Romantic Poetry. It has some characteristics which Romanticism have. They derived the love of aesthetic pleasure by Scott, Coleridge and Keats. Pictorial quality and melody by Keats and Coleridge, supernaturalism from Coleridge. Of all Romantic Poets Keats made great input on Pre Raphaelites. Rossetti and Morris called the worshiper of beauty. It was truly called by Rickets. The Pre Raphael movement was the logical development of Romanticism.

Conclusion:

         In short, The Pre Raphaelite movement was entirely a new one. It may be considered to be direct and legitimate development of Romantic Revival in England.

Character Sketch of Dr. Jekyll in 'DR. Jekyll and Mr. Hyde'

             Dr. Jekyll is the  prominent character of ‘Dr. Jekyll and Mr. Hyde’. He is  popular  scientist of London, who is well known for his dinner parties. Jekyll is a large hearted, and very handsome man of perhaps fifty. He is owner of a large estate and has recently drawn up his will, leaving his immense fortune to a man whom Jekyll's lawyer, Utterson, thoroughly disapproves of.

       Jekyll's own story of his life is recorded in his "Statement," which comprises the entirety of Chapter 10.

      "He was born to a good family, had a good education, and was respected by all who knew him. As a youth, he thinks that perhaps he was too light-hearted. He confesses to many youthful indiscretions, which he says that he enjoyed very much — indiscretions which he was very careful to keep secret. However, there came a time when he realized that his professional career could be ruined if one of these indiscretions were to be exposed, and so he repressed them."

         Now, however, When  he is middle-aged, he has been fascinated with the theory that man has a "good" side and a "bad" side, and he has decided to investigate the theory. His investigations were successful; he compounded a potion that could release the "evil" in a person in the form of an entirely different physical person, one who would take over one's own body and soul. Then one could commit acts of evil and feel no guilt; furthermore, one could drink the same potion and be transformed back into one's original self.

       Jekyll's evil dimension took the form of Edward Hyde, a man who committed any number of crimes and performed acts of sexual perversion; seemingly, his most serious crime is the vicious murder of Sir Danvers Carew, a Member of Parliament.

          Jekyll's fascination with his "other" self became so obsessive that he was finally no longer able to control the metamorphosis process, and Edward Hyde began appearing whenever he wanted to — and not at the command of Dr. Jekyll. Jekyll became, therefore, a frightened recluse, trying desperately to control Hyde, but successively failing, especially whenever he would doze off. Finally, crazed by anxiety and a lack of sleep, he hears Utterson and Poole, his butler, breaking down his private study door and, in desperation, he commits suicide, but just as he loses consciousness, Hyde appears, and it is the writhing body of the dying Hyde which Utterson and Poole discover.

Symbolism in The Bishop's Candlesticks

          After being released from the Prision after nineteen years, Jean Valjean (convict) cannot imagine how to lead his life in any other way than through theft and concealment. When the Bishop shows kindness towards him by giving him dinner and a room for the night, Valjean is shock and overwhelmed, but is still unable to prevent himself from stealing the Bishop’s ornate silver candlesticks and running away in the middle of the night. 

        When Jean Valjean (convict)  is brought back by the police, the Bishop exclaims that the candlesticks were a gift to Valjean, and that the policemen should let him go. The candlesticks thus symbolize the mercy shown to Valjean by the Bishop, as well as humility and goodness in the Bishop’s lack of interest in beautiful possessions and wealth. The candlesticks also reappear at various moments throughout the novel, as Valjean keeps them close to him as a reminder of the man and the act that began his transformation. That he nearly throws them into the fire at one point reveals just how closely Valjean equates the candlesticks with the Bishop’s system of morality and mercy—by keeping them rather than throwing them out, Valjean recommits himself to the new path he’s chosen.

Character Sketch of Bishop in The Bishop's Candlesticks

       The Bishop is a noble and kindhearted  person who lives with his sister Persome. The Bishop is always ready to help anyone in distress. The doors of his house are always open for the poor and the needy. He has donated everything except Candlesticks gifted by his dying mother.

            The Bishop’s sister Persome feels that most people take advantage of Bishop’s simplicity and nobility. In her opinion, he is often cheated and misused of his generosity. One such occasion is Mere Gringoire; the old woman who lives on the top of the hill and does no work. He is made to pay for an old lady’s house rent by selling his salt-cellars.

      One day in the midnight the Bishop sits to read. A convict enters the Bishop’s house and asks for food at the point of his knife. He threatens to kill the Bishop if he tries to call out. The convict is rude, suspicious and full of fear. The Bishop calls Persome to open the cupboard. He treats him with kindness and provides him cold pie, wine, and bread to eat.

       The convict tells his painful story. He told Bishop that he lived in the prison for ten years. His wife, Jeanette was ill and dying of hunger. He stole a piece of bread for his wife but was arrested soon. He was sentenced to 10 years imprisonment. While in the jail, he was informed that his dear wife had died. He lived in the hell for ten long years and had broken the prison and came out.

            The Bishop is moved on hearing the convict’s story and asks him to sleep in his house and assures safety and security. Saying this, the Bishop goes inside to sleep. The convict happens to see the candle sticks on the mantel piece. He was told before by the Bishop that they were given by his mother. Unable to resist the temptation, the convict steals them and runs away.

          When Persome and the Bishop get up the next morning, they find the candlestick missing. While they are discussing about the missing candlestick there is knocking at the door. A sergeant enters with three soldiers and the convict. They tell Bishop that the convict is walking on the road with the candle sticks and they have arrested him on suspicion. The cops remember the candlesticks of the Bishop and so they bring the silver candle sticks there to get identified. Though the candlesticks are very dear to the Bishop, (it is the parting gift presented to him by his mother) he saves the convict from going to hell by telling he has gifted them to the convict and calls convict his friend.

          The convict is deeply touched by the noble gesture and generosity of the Bishop. Now, he is full of repentance and asks for the Bishop’s blessings. The Bishop blesses him and also gives the candlesticks as a gift. Then he shows him a secret road to Paris. The convict’s human values and human goodness are restored due to the noble act of the Bishop. The convict becomes a man again and leads an honest living in Paris.

The Bishop's Candlesticks - Brief Review of the Play

Theme – The power of Kindness and conversion

       The Bishop’s Candlesticks is a fine example of kindness and reformation. The play dramatically depicts how the love and compassion of the Bishop brought about a change of heart in a convict and turned him into a man of promise for a good life. Though, the play being an adaptation of Victor Hugo’s Les Miserables, it is much about the value of compassion and its power to transform the hardened hearts. Besides, it is a finger pointed at the life of the high-profile spiritual leaders whose prime concern is expected to be charity.

• Leading Characters

The Convict – Jean Val Jean

         The convict was a happy man before he was jailed but ten years in the prison transformed him into a wild beast. He had lost trust in humanity, faith in the Church and hope in God. He considered him a number that was assigned to him when he lived in the prison. Under the influence of the bishop, he makes a walk back to his past self.

The Bishop

        The Bishop was a kind-hearted man who followed the teachings of Jesus Christ in the true spirit. Besides being a true Christian he was also an ardent humanist. He was ready to sacrifice everything to help the needy people. Even after selling all he had for others, he felt sorry that he could do so little because he believed that the world had so much suffering. He sold his salt-cellars and gave the money to Mere Gringoire so that she could pay her rent to the landlord. The Bishop thought that if the people pretended to be in distress and if they deceived him, it was because they were poorer in spirit and not he. His door was never shut and it was open for every passerby.

Persome

         Persome is a little worldly woman, neither as selfless as her brother nor so noble. She did not like her brother live a life entirely for others ignoring himself. As a mother figure, she thought that people took unfair advantage of his charitable nature so was always on his guard. A woman in her place cannot be entirely blamed for her selfishness and possessiveness for her only brother.

Biblical References

Important Sentences

      The words that moved the convict. Briefly explain what the bishop said to the convict and the effect they had on the convict. Can you write what effects they had in him?

1. “You have got your soul to lose, my friend.”

2. “I want people like you come in that’s why I keep the door open.”

3. “No one will come; but if they do, are you not my friend?”

4. “That is a pity, my son, as the Church does not hate you.”

5. “One must do a great deal for the devil in order to do a little for God.”

6. “I am sorry for thieves.”

7. “I think you are one who has suffered much.”

Central theme of 'The Bishop's Candlesticks'

             “The Bishop's Candlesticks” by Norman McKinnel is adaptation of an extract from the play Les Miserables by Victor Hugo. It is about how a simple act of kindness reforms a convicted criminal from a beast to a man. 

        Thus the central theme of the play “The Bishop's Candlesticks” is love, kindness and redemption. It is about how a simple act of kindness reforms a convicted criminal from a beast to a man.

             In the play, a convict comes to a Bishop's house and demands for food, threatening the Bishop’s life in the process. The Bishop offers him not just food and shelter, but his sympathy too. Instead of being grateful, the convict steals the Bishop’s candlesticks, his prized possessions, and escapes. He is soon caught and arrested by a Sergeant, who presents him to the Bishop. The Bishop, however, claims to have given the candlesticks to the convict as a gift and demands him to be released. This simple act restores the convict's faith in humanity and convinces him to go back to leading an honest life.

In short we can say that - The play demonstrates how criminals are not born,but circumstances turn a person into a criminal.

Short Story - Meaning and Characteristics and features of good short story

• INTRODUCTION     

    Like, a novel, the modern short story always shows us something of how people respond to life. The method of the short story is more limited than that of a novel. A novel tries to create a world of its own reality in which its characters developed. In some novels we are apparently shown the ‘whole life’ of a character. As it is impossible to write about every second of that character’s existence, the novelist presents the ‘whole life’ in a series of moments, key incidents that create a strong sense of the kind of persons he or she has invented.

• Depiction of glimpse of individuals:

             On the other hand the short story, presents only a glimpse of individuals – either through a dramatic incident, or by showing them in an everyday situation, or by showing fleeting moments from their lives – from which the reader may gain some, Thus the short story does  not shows an entire impression of characters.  While reading novel we feel that we really know characters in a novel, and may respond to them as to people in real life, like the novel it is really possible to feel the same for a character in short story.

• Lifelike Characters:

                Characters in the short story are closer to the people in real life with which we have fleeting contact, like chance meetings, holiday acquaintances. We share time with them but know little about them, of their past or of what they are really like- and then perhaps loose contact. All that remains in a brief impression based on a few shared moments. Much of the appeal of the short story lies in this incompleteness. It raises questions, doubts, ambiguities. The incompleteness is rather like that of something that is not resolved. More is suggested in a short story than it ever tells us. Our imagination is always creatively engaged.

• Suggestiveness

          Usually the short story raises more questions than it answers. It arouses our curiosity. – Why do certain characters behave as they do? What will they do next? Just as poetry often seeks to communicate feeling or emotion which is often difficult – perhaps impossible – to put into words, so the ‘incompleteness’ of the story can hint at states of mind or feeling common to us all, but difficult to bring out with clarity. 

             Like a poem a short story can rely on a kind of ‘suggestiveness’, for example where it tries to evoke a mood rather than showing it. It certainly shares some qualities with poetry. – It seems no accident that poets like Walter de la Mare, Dylan Thomas and Ted Huges have also written short stories.

                    The short story is often based around a single key moment or incident in the life of the characters. At times it represents a turning point in a character’s life. It can be a moment that actually triggers tension or conflict between two individuals, or an individual and society. It may be less the moment itself than the characters response to it. In such cases the key moment might already have occurred or been reported. Some moments can be trivial and ordinary; others seem dramatic and quite out of ordinary.

• Dynamic in Nature:

                 The short story can show change in the main character, not though one incident but though several small moments at a significant time in character’s life. While still lacking the space for the full psychological development of the character, this kind of story might look at a period in the character’s life rather than at a specific isolated moment. 

  

 Features of a good short story 

"A good short story reflects life and does not contain black and white characters"

Themes of short story could be topical or universal. Topical themes have a sense of immediacy and particularity. They would be pertinent to a particular place and time. Topical themes evoke greater interest and has immediate and contemporary relevance. 

          On the other hand, there are problems, conflicts, and experiences that man has always faced and would continue to face irrespective of time and place. Such things are as for instance, birth and death, love and hate, good and evil, grief, pain and suffering. They are of universal significance. Such themes have greater depth and endurance. It is said that great stories like symphonies contain more than one theme. 

    The topical subjects may well become 'the rags of time’. But themes of universal significance, artistically well crafted into stories form would be according to W.B. Yeats “Monuments of their own significance, gathered into artifice of eternity.'

             A short story may not deal with a vague or general experience. It is a section of a particular experience, special and isolated. But the particularity of the experience a universality of application in theme and value. The best stories contain both. 

             In James Joyce's words, a short story must have 'epiphany' which means self revelation or getting a sudden vision of life. This is a self awareness and a sense of profound insight, the protagonist or hero is exposed to, towards the end. It is said that a good short story is like a diamond; it has many facets. For example, it may reflects the facets of society, the characters, feelings, life etc.

The Victorian age as the age of Compromise.

      The Victorian age does not begin to year in which Queen Victoria Ruled in England, but Victorianism means an attitude to life and things. . This age was also called as the age of Tennyson, because its limit concedes with the limit of his creative life. He is the most representative writer of his time and the mirror of his age. The Victorian Age was the age of compromise or an age that looked for balance among conflicting forces and divergent tendencies. The Victorians Found a compromise between the employer and employees, between Monarchy and Democracy, between Science and religion and between Romanticism and Classicism

      When the queen Victoria became Queen in 1837, English Literature seemed to have external upon the period of leap years. It lacked the poetic fruitfulness of the Romantic Age. Coleridge, Shelly, Keats, Byron and Scott have passed away and Wordsworth complained:

“How fast brother has followed brother,

From sunshine to the sunless cloud.”

       Tennyson found so much glory and beauty in this age while Carlyle, Ruskin and Mathew Arnold found everything dark and hopeless. But there were some optimist like Browning who declared – 

“God’s in his heaven,

And all right with the world”

       A number of critics like G. K. Chesterton and Lytton were ironical in their assessment of the Victorians. The literary as well as social scene of the age can be described as an era of progress and unrest; and therefore what strikes most in the literature of this period is a search for balance. 

Let’s discuss this age as an age of compromise in detail.

(A) Compromise between Monarchy and Democracy:

       The steady advantage of Democratic ideals greatly influenced the literature of the people for personal liberty resulted in the establishment of democratic and the kings and the lords were left only figureheads. The Industrial Revolution of eighteenth century changed whole structure of the society. The passing of Reform Act and ne factory laws made education available to all people. The class walls were removed and the house commons became ruling power.

(B) Compromise between Science and Religion:

     The Victorian age was an age of scientific advancement and material progress.  The publication of Darwin’s ‘The Origin of Human Species’ changed man’s attitude, religion and life. Old views of religion and old faith had to justify themselves on new grounds. Literature caw to the aid of religion in upholding of idealistic view of life. Thomas Carlyle, Ruskin, Newman, Matthew Arnold and others made serious effects to revive the religious tradition and criticized the growing materialism. Whereas Tennyson and Browning did not lose faith in human virtues. They show in this new development, the birth of grater age. Tennyson’s ‘The Princess’ and ‘In Memoriam’ contain lines which show Tennyson’s faith in the theory of evolution. Again it is this scientific pamper which made the literature of this period critical of this age. Everywhere in the poetry of the Tennyson and Arnold, in the novels of Dickens and Thackeray, in the prose of Carlyle and Ruskin, we get the same note of social criticism. The Oxford Movement was an attempt to recover the lost tradition. From 1530 onwards the struggle between Science and Theology becomes more apparent. But ultimately the practical Victorian mind adjusted itself to the new changes and came to terms with reality.

(C) Compromise between the Romanticism and Classicism or        Between Idealism and Realism

       Side by side with the development of the democratic ideals, scientific advertisement, industrial development, social unrest, religious tolerance and growing brotherhood, the Victorian Age and its literature reflected human interest. The Romantic Revival had shown interest in nature and art as the subject matter of the art. Therefore the Victorian Age displays a very interesting and complex mixture of two opposing elements – Classicism and Romanticism. Basically it was inclined towards classicism on account of its rational approach to the problems of life, a search for balance and stability and a deeply moral attitude. But on the account of its close proximity to the Romantic Revival which had not completely exhausted itself. But it had came to a sudden end of account pre mature death of Byron, Shelly and Keats, the social economic unrest, the disillusionment caused by the industrialization and material prosperity. The spirit of Romanticism also survived and produced counter currents.

Charecteristic ( Techneque ) of One Act Play

Chief Characteristics OR Techniques of One Act Play

• Inroductiof of One Act Play

         The One Act play is often thought to be a short form of the long play. But the question is not one of length. A One-Act Play is a separate literary form by itself. It is not a condensed three or five Act Play, nor can it be elaborated into a three Act play. The very nature and structure of the two are entirely different. 

         A One-Act Play deals with a single dominant situation, and aims at producing a single effect, though the methods used may different  from tragedy to face, according to the nature of the effect desired. As the play is short and the action takes place within a short period of time, greatest economy and concentration is required. Everything superfluous is to be strictly avoided. The play must be close knit and the greatest attention must be paid to its structure. This makes the One-Act Play a difficult form of art and much training and practice is required to master it. It is a highly artistic form and has immense possibilities for development.

• THEMETIC CONCERN

         Though short in form the One-Act Play can have as its theme a large number of varied subjects. In fact every subject between heaven and earth is fit for the One-Act Play. It, of course, deals with only one action to produce the maximum of effect. Some tense situation or some particular phase in the life of an individual is chosen and is depicted in an effective manner. All attention is concentrated on that particular moment and the story of the play hangs on it.

Various problems connected with the life of the individual are discussed.

Thus various sorts of things – love, marriage, divorce, justice, crime, punishment, law, superstitions, customs and manners – are all suitable themes for a One-Act Play. According to its theme the One-Act Play can be divided into different types as – realistic plays, problem plays, fentasies, costume plays, satire, romance, etc. In short, the playwright has a large and varied choice of subjects which can be discussed equally well in the One-Act Play.

PLOTS OR THEMATIC CONCERN OF SOME PLAYS FOR EXAMPLE ONLY

THE BISHOP'S CANDLESTICKS is an adaptation of the story of the encounter between a convict and a bishop from Victor Hugo's novel Les Miserables.

THE MONKEY'S PAW is a horror play which is also an adaptation from a short story by W.W. Jacobs.

REFUND is a satire on the anomalies of the modem educational system.

HOW HE LIED TO HER HUSBAND makes an original play out of the hackneyed

situation involving a husband, wife and lover.

THE DEAR DEPARTED is a very amusing little play which makes good fun of the petty-Mindedness and complacency of a middle class family.

FUMED OAK is remarkable as an effective and satirical comedy on human relationships with strings attached.

HELLO OUT THERE is a moving short play'on the hypocrisies of a society that fails to understand the call of one human being to another out there.

   The plots of one-act plays are simple and easily comprehensible. The basic plot formula is that of a beginning, a middle and an end, where the end is distinctly different from the bEginning. This is what lends to a play its dramatic quality.

         

• STRUCTURE OF DRAMA

           The One-Act Play, like the longer drama, should have a beginning, a middle and an end. It may be divided into four stages: 

 1.The Exposition. 

 2.The Conflict, 

 3.The Climax and

 4.The Denouement. 

         All these stages may be distinctly marked as in the larger play, but more often than not they tend to over-lap in a One-Act Play.

           The Exposition serves as an introduction to the play. It explains situation introduces the characters and tells us of action prior to the situation on hand. Thus, the themes of the play are explained to the audience and the important characters are also introduced. The part of the story that has already happened and which it is necessary to know for an understanding of the play, is also told to the audience. But as the One-Act Play is very short, the dramatist cannot devote much time to this introduction-and explanation. Hence the exposition of a One-Act Play is usually brief.

           The exposition is followed by the conflict. It is through the conflict that the action of the drama develops. The conflict means a struggle between two opposing forces. The conflict may take different forms. There may be a struggle between two opposite interests, ideas, persons, group of persons, or the hero and his fate or circumstances. There may also be an inner conflict between two opposite ideas or urges in the mind of the hero, who may not be able to decide what to do and so may suffer great agony of spirit as a consequence. The conflict is the very back-bone of the One-Act Play. Complications after complications arise and the readers are in constant suspense about the outcome of the conflict.

          After the conflict comes the climax. It is the turning point of the drama. One of the two contending forces now gains supremacy over the others. It is now clear which of the two would win in the end. The climax is an important part of the One-Act Play and constitutes its moment of supreme interest.

         The Denouement is the next and the final stage of the One-Act Play. The play now reaches its end. One of the two contending forces now definitely gets victory over the other and the action of the drama concludes. As the space at the disposal of the writer of One-Act Plays is limited, the denouement is very brief and often overlaps with climax. The plays come to an end just after the climax.

• DRAMATIC UNITIES

          There are three dramatic unities which are observed in the One-Act Play as far as possible. The unities are – the unity of time, unity of place and the unity of action. If the drama is to be probable and natural, these three unities are to be observed by the dramatist. Of course, sometimes it is difficult to observe these unities, but effort is to be made to observe them as far as possible.

• CHARACTERS

             The characters in a One-Act Play are limited in number. The space at the disposal of the playwright is limited and if he introduces too many characters, it would result in overcrowding and lessen the effect of the drama. Of course, there is no hard and fast rule as to the number of characters in a play. But generally there are not more than two or three principal characters.

Not only are the characters limited in number, there is also no full development of character. The dramastist has no time to present the characters through the different stages of their development. All the different aspects of a character are not presented. The attention is focused on only one or two salient aspects of character and they are brought out by placing the characters in different situations and circumstances.

           Besides this, the characters in the modern One-Act Play are ordinary men and women. They are neither saints nor devlis. They have all the faults and weaknesses, as well as all the virtues that ordinary human beings have. If they are otherwise, it would make the play unnatural, unrealistic and unconvincing.

• DIALOGUE

             Dialogue is of the greatest importance in the One-Act Play. As the drama is short, all superfluity is to be avoided. Absolute economy of means should be used. Every word is to be carefully choosen and sentences must be compact and condensed. Effort should be made to say, whatever is to be said, in the least possible words. Thus the language of the dialogue should be simple, brief and easy to understand. Long speeches and arguments and long sentences would be out of place and would lessen the charm and interest of the play.

            Detailed stage-directions are invariably introduced by the dramatist in the One-Act Play. The space at the disposal of the playwright is limited and so he cannot supply us detailed information through a lengthy exposition or during the action of the play itself. This purpose is served by the stage directions. Moreover these stage directions, describing the minute details of the scene, give an air of realism to the drama.

          Besides, the play is not meant only for acting but for reading as well. The reader can know of the entire scene through the stage direction and can, to a great extent, appreciate the real spirit of the drama. These stage directions make the play perfectly clear to the reader. They impart realism and verisimilitude to the One-Act Play.

Trends in Victorian Poetry

Introduction:

       The poetic material of the Victorian age is not materially different from that of early ninetieth century.

       There is a contribution of Romantic Tradition. They are individualism, play of imagination, love of picaresque, and interact in past and love of nature. It is little different from Romantic temper, in its response to the changed political, social, economic, religious and moral condition.

 

Ethical and Spiritual:

      The Victorian poetry is characterized by its ethical and spiritual tone. Tennyson, Browning, Clough and Arnold are deeply moral and didactic in their verses. Prof. O. Elton rightly remarked that the remarkable quality of literature between 1830 and 1880 in ‘the quality of nobleness’ the poets of the age were concern with the grave and serious issues of the life and conduct. As compared to these the Romantics were not so concerned with these issues. The Victorian poetry abounds in passages showing the nobility of spirit and temper. Thus in Tennyson we have –

“Not unbecoming men that strove in God

Say not the struggle naught availed”

Such passages may be easily multiplied. They are the example of poetry written in ‘grand style’. The Victorians might have been confused bewildered at places but they did fix their gaze on what was noble and beautiful. They shaped their art for ‘life sake’ and not for arts sake.

 

Revolt:

      The Victorian poetry struck the note of revolt. It was against deadening effect and cramping inertia cased by the growing material and mechanical affluence (richness) of the age. It also raised its voice against effete conventions. However their voice was louder and stronger in fiction. Some of poet fed up with the atmosphere around adopted an escapist tendency. They look refuge in cozy beliefs of Middle Ages. It is particularly true of the Pre-Raphaelites. D. G. Rossetti delved (searched) in the folklores (the traditional beliefs) of the medieval age. Unlike the Arnold stood all for “art for art’s sake’. They were true possessors of aesthetes of the 1890s.

Individuality:

        The poetry of the Victorian Age is also marked by a touch of individuality. Though it is not much original in theme, it is yet distinctly individual in its voice. Tennyson loved to sing songs in praise of sturdy independence in England. His Princess (1847) is a forceful statement of woman’s liberty. Browning cultivated a poetic mode full of eccentricity and whimsicality. In that lies his striking individuality and inimitable originality. Arnold was concern with the best ideas.

Pessimism and Optimism:

       A note of pessimism and optimism is runs through the age in poetry. The poetry of Arnold, Clough, Fitzgerald and Tennyson is deeply coloured with pessimism and scepticism. Even Tennyson ‘In Memoriam’ is so. This was all the direct result of Darwin’s evolutionary theory. The Bad conditions prevailing in mills and factories seems to be strengthening the people’s disbelief in God. But Browning was glorying exception. He was an optimist to the core of his heart. His ideal belief in life hereafter might be questionable, but his spirit remains still unquestionable in all circumstances. His poems ‘Rabbi Ben Ezra’, ‘Prospice’, and  ‘Epilogue To Asolando’ are good examples.

A Sense of Patriotism:

       Another feature of the Victorian poetry is a sense of patriotism. Like Dickens. Thackeray in Fiction, Tennyson felt sense of national pride in his countries superiority over the countries. His Patriotic Emotions (insights) are clear in the following lines:

“…. A land of settled government,

A land of just an old renown….”

Different from the Romantic Poetry:

        A Contrasted to the Romantic Poetry, it written largely for the delight of the poets himself only, while the Victorian poetry was written for the enjoyment of the reader. The poets of Romantic Revival were interested in nature, in past and lesser degree of art, but had not interest in men and women of the world at the large. The Victorian poetry came to be related human beings with the same warmth and glow that the Romantics given to the nature. The Victorian Poets and novelist added humanity to nature and art as a subject matter of literature.

Two Groups of Poets:

       The Scientific and Romantic trends run parallel in most of the poetry of the Victorian age. There were two distinct groups of poets writing at the same time. One was influenced by the Contemporary Scientific movement like Tennyson and Arnold. The other was motivated by a desire for idealistic scope. This group being represented by Beddoes, Hood, Eliot, Rossetti, Morris and Fitzgerald.

Treatment of nature:

      Under the impact of science, the general attitude of the Victorian poets toward nature has somewhat challenged. Nature was no longer invested with divinity or with philosophical significance. It was what the science had revealed to men – matter in motion, tracking an inconceivable variety of form, but always in it variety of acting rigidly according to certain ways, which for want of wiser term, we call law.

Poetic Form:

       Much attention was paid to finish of form and polish of technique in the poetry of period. There was an attempt at the technical excellence and the poetical variety. Browning and Hopkins took immense library with English language almost to the point of obscurity and unintelligibility. As for the variety of form lyric, elegy, song, ballad and so on were written by poets.

One Act Play - Meaning, Origin, History and Characteristics

        Origin and History of One Act Play

• Meaning of One Act Play

The words “one act play” Plainly stated the it is a play in one-act. This simple definition conveys all that is to be said about one-act plays. Let us analyses this bald statement.

1) It is a play-that is, it is meant to be performed or enacted.

2) It is a short play (of one act) as distinct from a long play (of three or five acts).

• Origin and History

           One-Act plays were written & staged throughout the 18th & 19th centuries as “The Curtain Raisers” or “The after Pieces”. But the origin of one-act plays can be traced to the satyr plays of the Greeks of the 4th century B.C. which were intended to provide relief at the end of the performance of serious tragedies. The modem one-act plays and the Greek satyr plays share a common trait-both can be enjoyed without too much of expense of effort or of time.

        In the Middle Ages (in the 14th and the 15th centuries), there were short there were short plays which dealt with Christian subjects and scriptural themes. These were called the medieval miracle and mystery plays. There was also another of a similar category called the Morality play, of which the outstanding examples was Everyman. Written in the 15th century, Everyman, fits in well with the one-act plays of modem times.

     The 16th century saw the rise and glory of great English drama. The Elizabethan drama was written for professional actors and professional theatre. But in the second half of the 16th century short interludes were written to be performed between two long miracle or mystery plays or between the courses of a banquet. These were truly one-act plays requiring just a few actors and capable of being performed in less than half an hour's time.

       In the 18th century Fielding's Tom Thumb and Sheridan's The Critic deserve to be mentioned in any account of one-act plays. From the above account it is evident that one-act play is not unique to the 20th century, but since the end of the First World War, there has been a proliferation of this kind in the English theatre world. Two reasons can be attributed for this large output of one-act plays the rise of the amateur drama of radio and television

         So, we can say that ----

        The origin of the one-act play may be traced to the very beginning of drama  in ancient Greece, Cyclops, a play on the forest God , by Euripides, is an early example. But, It was great Norwegian dramatist Ibsen, who, for the first time, introduced the minute stage-directions into the one-act play. Before him, one-act plays were written in poetry, but he made prose the medium of his one-act plays. In short, he made the drama, simple & real , & brought it nearer to everyday life. He made the modern one-act play what it is & his example has been widely followed. George Bernard Shaw & John Galsworthy are two of his greatest followers.

         The one-act play requires no elaborate setting & costumes, & so comes in handy to be staged in amateur dramatic societies & clubs.

          One-act plays by major dramatists —–

 (i)  Anton Chekhov —– A Marriage Proposal (1890)

 (ii) August Strindberg —–Pariah (1889)

                                        Motherly Love (1892)

                                        The First Warning (1892)

 (iii) Thornton Wilder —-The Long Christmas Dinner (1931)

 (iv) Eugene Ionesco —- The Bald Soprano (1950)

 (v)  Arthur Miller —-A Memory of Two Mondays (1955)

 (vi) Samuel Beckett —- Krapp’s Last Tape (1958)

 (vii) Israel Horovitz —-Line (1974)

 (viii) Edward Albee —- The Goat, or Who is Sylvia? (2002)

• Chief Characteristics of One Act Play

1. One-act play is a play that has only one act, but may consist of one or more scenes.

2. One-act plays are usually written in a concise manner.

3. It deals with a single dominant situation, & aims at producing a single effect.

4. It deals with only one theme developed through one situation to one climax in order to produce the maximum of effect.

5. It treats the problems of everyday life as marriage, punishment for crimes, labor conditions, divorce, etc.

6. The one-act play, like the longer drama, should have beginning, a middle & an end. It may be divided into four stages :

- The Exposition, 

-The Conflict, 

-The Climax & 

-The Denouement.  

             The exposition is usually brief, serves as an  introduction to the play. It is through the conflict that the action of the drama develops. It is the very backbone of the one-act play. Climax is the turning point of the drama. It  is an important part of the one-act play & constitutes its moment    of supreme interest. The Denouement is very brief & often overlaps with climax.

7. Action begins right at the start of the play.

8. There are no breaks in the action, that is , it is continuous       since its a short play; no intervals.

9. Everything superfluous is to be strictly avoided as the play is short & the action takes place within a short period of time. It introduces elaborate stage directions to minimize the time taken by the action itself.

10. The creation of mood, or atmosphere is indispensable to its success.

11. There are three dramatic unities which are observed in the one-act play. The unities are —- the unity of time, unity of place & the unity of action.

12. It aims at simplicity of plot ; concentration of action & unity of impression. It does not rely on spectacular effects & common dramatic tricks of old.

13. The characters in a one-act play are limited in number. Generally, there are not more than two or three principal characters.

14. There is no full development of character. All the different aspects of a character are not presented. The attention is focused on only one or two salient aspects of character & they are brought out by placing the characters in different situations & circumstances. The author implies the past & intimates the future of a character by presenting a crucial moment in the life of that character.

15. There is an influence of realism. The characters in the modern one-act play are ordinary men & women. It depicts characters that seems to be real & related to everyday life.

16. It must present a question, for which the audience eagerly awaits the answer.

17. Its language is simple & can be followed without any strain. All superfluity is to be avoided in the dialogue. The dialogue must be purposeful; the best dialogue is that which does several things at one time. Every word is to be carefully chosen & sentences must be compact & condensed. Effort should be made to say, whatever is to be said, in the least possible words. Thus, the language of the dialogue should be simple , brief & easy to understand . Long speeches & arguments & long sentences would be out of place & would lessen the charm & interest of the play.