Paper: 4 critical note on The fakeer of Jugheera ( Assignment)

Assignment
Name : Bhaliya Hansa  G.

Roll. No. : 10

Paper No. - 4 -  Indian writing in English
            
Class : M. A.  Sem - 1

Topic : critical  note on The fakeer of
             Jungheera

Enrollment No : 2069108420190004

College : Smt. S. B.  Gardi Department of
                English

Email ID : hansabhaliya20@gmail.com

Submitted : Department of English M. K.
                     University, Bhavnagar

Signture :

      Introduction :

                 
               The Fakeer of Jungheera by Henry Louis Vivian Derozio. He was born on 18 April, 1809 and living only 22 years. He died on 1831. He was a teacher and a poet. Derozeo was an Indian poet and assistant headmaster of Hindu College, Kolkata, a radical thinker and one of the first Indian educators to disseminate Western learning science among the young men of Bengal.

             Long after his death due to Cholera, his influence lived on among his former students. Who came to be knows as young Bengal and many of whom became prominent in social reform, law and journalism.

           
          Derozio wrote wonderful poems in English. “The Fakeer of Jungheera” is one of the most significant landmarks in the history of patriotic poetry in India. In his days Bengal faced many problems of caste and creed. The reassessment and inclusion of  Derozio in the canon of Indian writing in English has to do with many factors. Like communism, religious aspects, colonial aspects.

      
         In The Fakeer of Jungheera‘Derozio mixed the tantric, Hindu, mythological, Islamic and Christian tradition. He got the idea about writing the poem of spiritual love from Baital Pachisi. As the story goes, if king Vikram remains steadfast in his love for his queen, he can resurrect her and once more both can find happiness together. The dauntless fortitude and courage that the king exemplifies by passing through the horrible ordeal in the graveyard leading to his triumph, inspires conclusion to the tragic death of the Fakeer in the arms of his beloved Nuleeni. If the Nuleeni can gain be resurrected in the arms of the Fakeer if she can pass through the horrors and temptation

. Theme of The fakeer of jungheera

  Emancipation sati victimization

    of  Love                               of
                     

Emancipation  Of  Love

This Theme can be found in this Poem, whose principle idea is Love and it very much connected with this poem.

Naleeni ‘s Beauty

“The smile comes from her ruby
                   lips

like the sun rushing from eclipse”.

Sati

Instead of Belaboring  upon the misery of slavery , Derozio embark upon  a mission of resolving  some of  the inherent evils of Hindu society especially the practice of widow burning. and The Fakeer Of Jungheera is also showed our ‘Sati Practice’.
   

     Instead of Belaboring  upon the misery of slavery , Derozio embark upon  a mission of resolving  some of  the inherent evils of Hindu society especially the practice of widow burning. and The Fakeer Of Jungheera is also showed our ‘Sati Practice’.

      Victimization of Women

NULEENI AS A VICTIM 

·        Widow of her husband

·        Victim of “Sati Pratha”

·        Victim by society

·        Helpless

·        Mentally dead

·        Death of her “beauty” and “Charm”

·        Death of her love

·        Becomes second widow of her lover Fakeer

     The Fakeer of Jungheera- A study in the Narrative Art:

             The Fakeer of Jungheera” is the masterpiece creation of Henry Derozio. In his poems, he deals with the theme of patriotism, of love, of nature, of death. The central theme of ‘The Fakeer of Jungheera’ is the ignoble and in human practice of ‘sati’ in the contemporary orthodox Indian society. This rotten system had been in vogue in the Indian society for centuries, and Derozio vehemently protested the ‘sati’ system both in his social life and in the classroom as a teacher at the Hindu college, Calcutta. He wrote this poem to highlight the issue. Derozio writes in it of various aspects of natural scenery, the evils of love which leads to confrontation at different levels. First the funeral pyre, and later when Nuleeni’s relatives, with the help of the Mughal army, try rescue her from the Fakeer a fierce battle goes on. The Fakeer fights bravely but is ultimately killed, in the battle field. Nuleeni joins him and dies in his embrace and their souls depart from this mundane world, bound by the considerations of customs and creed.

           
          The Fakeer of Jungheera is a long narrative poem in two cantos, each running into about a thousand lines. Each canto, again, is divided into different metrical sections in various measures. This subject-matter in conventional because most of the epics, ballads and narratives deal with the subject of love, unsuitable marriage, separation by death, reunion with the former lover followed by the reaction of the society and relatives who rise in revolt to take revenge upon the person outraging the social norms

             The character of Fakeer is secondary to that of Nuleeni. It is Nuleeni who is at the center of the tragic tale. She is a figure of misery and a helpless, hapless, forlorn object of social religious regimentation. First of all there is the theme of social injustice. Dr. Jasbir Jain also says, “at the thematic level the unifying idea is the suffering of women at the hands of society.”

            The holy Ganga has religious and ritual association with her. She prompts the poet to write about the theme of religion which we get in the chorus of Brahmins and that of women. The theme of happy life after death achieved through the rite of sati has also been projecte

 The social Moraine of sati :

                     Instead of belaboring upon the misery of slavery, Derozio embarked upon a mission of resolving some of the inherent evils of Hindu society especially the practice of widow burning. In his notes on canto 1, Derozio criticizes the mistaken belief that the practice of Hindu widow burning examples “an act of unparalleled magnimity and devotion” and explains at length the problem of sati and his position on it.

                 
      Analysis of poem Fakeer of Jungheera: 

                       The protagonist of the Fakeer poem is a robber Fakeer or a mendicant, who belongs to some unidentified Muslim sect, while the heroine, the widow Nuleeni, comes from an upper cast Bengali Hindu family. Derozio’s uses Christian imagery, such as heaven and juxtaposes it against the Hindu tradition of sati, Muslim prayers and tantric tale of raja Vikramjit and Baital to create acquaint, romantic atmosphere.
          
         
          In these poems Derozio emerged as ‘the first modern poet of India’. Buddhadev Bose,the great Bengali Critic, pointed out in his introduction to Kalidasa’s ‘Meghdut’, “the body of Sanskrit literature is like a vast and venerated corpse for the ordinary Indian reader primarily because of the divorce effected in modern like between the everyday and Sanskrit.”Similarly, says Roshinka Chaudhary,

         
    "     I would venture that ‘nineteenth century idiom’,  in which much of Derozio’s verse is written may be compared to Sanskrit in its often remote English literariness; even more patently for the contemporary reader it is the Romantic turn to inwardness and the Modernist turn to quotidian that informs all of his or her understanding of what poet "

       Hence, to understand Derozio’s poems one must understand the political, cultural and aesthetic value he engaged with throughout his career.

There are however conflicting opinions about his character. There are some who say that he is saintly wise and holy while other talk of his mindless cruelty, treachery and devilry. In stanza four the poet comments that there are cases when evil men may take to religion to hide their criminal intent:

         "  Alas! In fairest seeming souls

  The tide of guilt all blackly rolls;

   And then they steal religion’s ray

   Upon its surface but to play:

   As o’er the darkest sea a gleam

   Of brightest sunshine oft may beam,

   Gilding the wave, while dark beneath

   Are lurking danger, woe, and death.”

         The wonderful play of light and shade bring out a deceptive human nature and the evil that lies buried in the human soul.

      "o!  For the speed of swiftest hound

At once into her arms to bound!

O! for the speed of sunny beam,

Or eagle’s wing, or airy dream,

Or lightning glance of rapid eye

From younger rocky height to 

fly."

    In the intense bond of love Nuleeni’s lover comes and takes her to his abode. They forgot their caste discrimination. Fakeer fought that the people at funeral and took Nuleeni with him. Nuleeni left all the relations of behind and got united with her lover. They did not know that they were challenging the ancient and so called norms of the society. They took the risk to escape and elope with each other rejecting the social order. Fakeer with great courage snatched his beloved from the people of upper class. The upper class people had the authority in Bengal. How can they bear the insult? How can they tolerate the weaker sect running away in way ? 

             
     Henry Derozio here, through this poem is opposing the evils of the Bengal’s society. Indian society was divided into upper and lower caste religious division caste and creed and many superstitious beliefs. The people were orthodox. Derozio wanted them to come up leaving the dark sides of the characteristics aside. He was criticized due to his preaching. The youth supported whereas superstitious people tried to block them.

         
         The brave rebellion of the lover draws our attention towards the inequality of Indian subcontinent. One can say that this poems marks an important step in the use of social themes in literary texts endorsing a syncretistic tradition quite popular in the nineteenth century Bengal. Instead of belaboring upon the misery of slavery, Henry Derozio embarked upon a mission of resolving some of the inherent evils of Hindu society especially the practice of widow sitting alive on the pyre.

           Derozio opens the first canto with the wind wandering gently like young spirits.

    " The sun lit steam in dimples breaks,

 As when a child from slumber wakes,

 Sweet smiling on its mother-there,

 Like heavenly hope o’er mortal care”

      Second stanza the sad theme is established where a woman has to become sati.

          In fifth stanza a group of people protected by soldiers is depicted. In the next one Hindu woman sing songs of sacrifice as Nuleeni is to die but later on we come to know that she runs away with Fakeer. Up to stanza 14 we are not told the name of our heroine. In stanza 14 Derozio juxtaposed against the Christian image of an external soul highlight the syncretism aspect of the poet’s imagination. In the next stanza the poet prophesies the tragic future of two lover and weave im

 To wind  up :

            The secular and universal ideas that Derozio exposes in his poetry do not go well with the separatist and divisional politics of modern India.
  
          These are some of the revisionist consequences of modernity. However, the ‘modes of social life that emerged in the early nineteenth century in response to modernity in India now take us beyond modernity’ into the information age. If India must shine it must do so within its own traditions and Derozio occupies a central place in it. The poet through the impossible and bold story of love-affairs between Hindu upper class widow and a Muslim lower class. Fakeer reflected and criticized the evils of Indian society.

Paper : 1 Doctor fautus As Morality plau

Paper:2 charecteristics of Neo- classical Age(Assignment)

Name :Bhaliya Hansa G.

Roll. No. 10

Paper No. : 1 The Renaissance Literature

Class : M. A.  Sem - 1

Topic :  Doctor faustus As  a Morality
              Plau

Enrollment No. 206910842090004

College : Smt. S. B. Gardi Department of
               English

Email ID : hansabhaliya20@gmail.com.

Submitted : Department of English M. K.

                     University, Bhavnagar

            
Signture :

             

         Doctor  faustus as a Morality play  

       

            

  
       MThe morality was one of the early forms of drama. It developed out of the mystery and miracle plays and it flourished during the middle ages, attaining much popularity in the first half of the fifteenth century.

“The morality differed from the miracle play in that it was not concerned with presenting a Biblical story with named characters, but rather a play conveying a moral truth or lesson by means of personified abstractions. The morality at bottom dealt with some problem of Good and Evil

       
           The basic benefits of the Christianity are inherent in every line of Doctor Faustus and the doctrine of damnation pervades it. The devil and hell are omnipresent in this play and are terrifying realities. Faustus make a bargain with the devil, and for the sake of earthly learning, earthly power and earthly satisfaction goes down to the to horrible and everlasting perdition. The “Hero” is depicted as a wretched creature who for lover values give up higher ones. Thus, the drama is morality play in which heaven suggested with hell for the soul of Renaissance “Everymen” who the battle on account of his psychological and moral weaknesses.  

           Marlowe establishes the moral value of this play by varies means: by the Chorus, by Faustus’s own recognition by the GOOD Angle, by the OLD Man, by the action itself and even by Mephistophilis. As an example of the pervasive Christian view point, we also witness the deterioration and the coarsening of Faustus’s character and his indulge
in cheap sadistic fun.

         At  the very beginning of Faustus‘s temptation, the good angle argues Faustus to lay aside the damned book of the magic and to read the scriptures. The good angle is the voice of the God and the voice of Faustus’s conscience. But Faustus listens to the Evil Angle, who is the emissary of Lucifer and who encourages Faustus to continue his study of magic.

       
        The spirits will bring him “gold”,“orient pearl”, “pleasant fruits”, “princely delicates”, and “silk”. Faustus has intellectual pride to an odious degree, but he is also desirous of moor vainglory. He recalls how he puzzled German priests by his clever expositions, and he hopes to acquire the magic skill of Agrippa. Faustus is wholly egocentric. He speaks disparagingly of his opponents, and relishes the inflates sense of his own abilities. Thus, after Mephistophilis has left the stage in order to re-appear in the shape of a friar, Faustus indulges in a delusion of self importance and says,
           
                            
                               How pliant is this

Mephistophilis,
                    

                             Full of obedience and

humility !

                          Such of the force  of

magic and my soells

                              Act l,  scene   lll,

Line 29- 31  

          
                         "  what is a grate

Mephistophilis so passionate ?

                             Far being deprives of

The joys of heaven?

                             Learn thou of

Faustus's  manly tortitude

                            And scorn scorn those

Thou never shalt possess.

                        
                           Act I, scene lll,

Line 83-86
                       "
                          Had I as many souls as

there be stars, 

                       
                          Is give them all  for

Mephistophilis.

Act. I, scene lll, Line 102-103

     
The next time we see Faustus, his emotional and intellectual instability is fully revealed.

He wavers between God and the devil. At first he is conscience-stricken: “Now Faustus, must thou needs be damned, and canst thou not is saved.” But in a moment he is ones more the user of egocentric hyperbole.

                                  The god thou servest is thine own appetite,

                             Wherein is fixed the love of Beelzebub 

                             To him I will build an altar and a church 

                             And offer lukewarm blood of new-born babes.

                              Act ll scene l,

Line 11-14           
                            Home, fugel  whither

Shouldfuy          

                        If unto God,  he' throw

Me down to hall.

                    My senses are

deceived,  here,  nothing   writ

                    Home,  fuge: yet shall

not faustu fly

                    (Act ll,  scene l,

Line 77-80)

          
              We can look upon the Good Angle, the Evil Angle, the Old man, and even Helen, Mephistophilis, and Lucifer as part of Faustus. This allegory employs realism as an instrument. Marlowe chooses certain characters that are capable of serving a double purpose: these characters are significant as symbols, by virtue of what they symbolize; but they are significant also as themselves, by virtue of what they are.

               The Good Angle, for example, represents the principle of goodness, independent of Faustus in that this principle is not affected by whether is loyal to it or not. Faustus can neither increases nor diminish its perfections; nor can he create or destroy it. At the same time Good Angle is symbolizes a part of Faustus’s   nature.

      
            Faustus’s life, though single and indivisible, is both in his own and not his own. In much the way same way, Helen is the lust of the eyes and of the flesh, both as these are objects in an external world, other than Faustus, and as they are his own passions, leading him to seek happiness within those objects; inevitably they are part of his living. 

             The sole problem, given the Angles are an objected evil and an objective good, is not which of them ought to be followed, but which of them will be followed in fact and what the consequences will be.

          
         The consequences are for their fuller comprehension, spread over twenty-four years. Faustus is allowed to explore evil with all patience and all diligence. Evil is a new toy, and Faustus cannot resist any invitations to evil that he may receive. Ones Faustus has chosen evil; he has neither eyes nor ears except for the immediate advantage of having done so.

         When he asked: “Tell me who made the world” Mephistophilis refuses to answer the whole economy of hell is disturb; Lucifer appears with his companion-prince, Belzebub, and demands obedience. As a substitute for the vision of the God, Lucifer shows him the seven Deadly Sins, and at the end of the parade Faustus says:” O, this feeds my soul”. Then he goes on to express a desire to see hell and return.

       
             The old Man reminds him of this. He is seized with fury against an agent of good, and asks for him to be tormented. He begs Helen to make him immortal with a kiss, meaning thereby not that he himself (for to his misfortune, he is immortal already), but hat what remains of youth, the present moment, shall not pass away By the nature of things, this is impossible. The twenty-four years draw to a close and before the allegory ends the last gift of the Evil Angel (namely, Helen) has already crumbled in his hands.

          As the attractiveness of evil gradually declines, that of goodness grows. Accordingly the more prominent role which in the earlier scenes fell to the Evil Angel is in the later assumed by the Good Angel and his associates: the Old Man and Faustus’s own conscience. 

        
       It is only Lucifer who drags a reluctant Faustus from thoughts of heaven. Faustus also drags himself. For Lucifer, like the Good Angle, is hear playing a double role: he is devil, but also he is part of Faustus’s nature. Faustus is thus agent as well as victim in his own torment. We should not therefore question Faustus’s moral freedom.
        
   
         The allegory in this play is, because of its complications, more than an allegory. The temporal allegory is effective in similar way.  As he is alive, Faustus has hope and therefore pain of this intensity. But at the same time, he has no hope, for he is already dead.

     
      It  should be further noted that the allegories not only provide material and machinery for the body of the play, but shape it. The play begins with a monologue, for example and ends with one. He alone can endure the punishment, and is therefore left alone to meet it. But between these toes point’s stage is crowded with figures that, if they cannot commit an act, may influence the act or if not influence, may be influenced by it. In order more fully to exhibit its nature and its workings. 
       
             Pity and fear are the emotions that, according to the Greek philosopher Aristotle, are aroused by the experience of watching a tragedy. At the start of this chapter we asked whether Doctor Faustus is a late sixteenth-century morality play, designed to teach its audience about the spiritual dangers of excessive learning and ambition. When the play was published, first in 1604 and then in 1616, it was called a ‘tragical history’; if we take ‘history’ here to refer not to a particular dramatic genre but more generally to a narrative or story, then the publisher described the play as a tragic tale. So what is a tragedy? In fact, ‘tragedy’ is a notoriously difficult literary term to define, for it seems to take various forms in different historical periods. But for the sake of discussion, we can fall back on the broad strokes of Aristotle's description (in the Poetics) of the tragedies he had seen in Athens in the fourth century BCE: tragedies are plays that represent a central action or plot that is serious and significant. They involve a socially prominent main character who is neither evil nor morally perfect, who moves from a state of happiness to a state of misery because of some frailty or error of judgement: this is the tragic hero, the remarkable individual whose fall stimulates in the spectator intense feelings of pity and fear.
       
            Figure 6 This is the title page of the 1620 edition of the ‘B’ text of Doctor Faustus, first published in 1616: The Tragicall History of the Life and Death of Doctor Faustus. British Library, London. c. 1891–6 C.39.c.26. By permission of the British Library

To what extent does Doctor Faustus conform to this description of a tragic play? Well, it follows the classic tragic trajectory in so far as it starts out with the protagonist at the pinnacle of his achievement and ends with his fall into misery, death and (in this case) damnation. From the beginning the play identifies its protagonist not as ‘everyman’, the morality play hero who ‘stands for’ all of us, but as the exceptional protagonist of tragic drama. Moreover, it is certainly possible to argue that Faustus brings about his own demise through his catastrophically ill-advised decision to embrace black magic. Perhaps most importantly, we have seen in the course of this course that Faustus is consistently presented to us as an intermediate character, neither wholly good nor wholly bad: both brilliant and arrogant, learned and foolish, consumed with intellectual curiosity and possessed of insatiable appetites for worldly pleasure, a conscience-stricken rebel against divine power. We have seen as well how skilfully Marlowe uses the soliloquy to create a powerful illusion of a complex inner life: from Faustus's first proud rejection of the university curriculum and his exuberant daydreams of unlimited power, to his anguished self-questioning and final terrified confrontation with the divine authority he defied, the play gives us access to the thoughts and feelings of a dramatic character whose fall, whether or not we feel it is deserved, seems to call for a fuller emotional response than the Epilogue's moralising can provide.

                     

Paper:3 Write brief note on Plato's objection to poetry ( Assinment)

Name : Bhaliya  Hansa  G.

Roll. No. : 10

Paper No. - 3- Literary  Theory & criticism.

Class : M. A. Sem - 1

Topic  : write brief note on plato 's
              objection to poetry

Enrollment No: 2069108420190004

College : Smt. S. B. Gardi  Department of
                Department of English

Email ID : hansabhaliya20@gmail.com.

Submitted : Department of English M. K.
                      University,  Bhavnagar

Signture :

                   
My  Assignment's
      
        Pluto's objection
Poetry :

              
            Plato was the first systemic critic who inquired in to the nature of imaginative literature and put forward theories which are both illuminating and provocative .He was him self a great poet and his dialogues are full of his gifted dramatic quality.his dialogues are the classic of the world literature having dramatic,lyrical and fictional elements.

Plato's theory of mines is :

                     All arts are imitative or mimetic in nature .He wrote in  The Republic that ‘Ideas are the ultimate reality’.Things are conceived as idea before they take practical shapes.so,idea is original and these things is copy of that idea.Carpenter’s chair is the result of the idea of chair in his mind.Thus chair is once removed from reality .But painter’s chair is imitation of carpet  chair.  

Plato the Philosopher :

                
                  As a morality Plato disapproves of poetry because it is immoral.As a philosopher he disapproves of it because it is hased in flashehood. Truth is philosophy that is more important.

        Plato’s three main objections to poetry are that poetry is not ethical,philosophical and pragmatic  and other words,he objected to poetry from the point of view of Education,from Philosophical point of view and from Moral point .
            

                Plato then makes a challenge to poet to defend themselves against his criticisms.Ironically it was plato’s most famous student,Aristotle,who was the first theorist to defend literature and poetry in his writing poetics. Plato felt that poetry,like all form of art,appeals to the inferior part of the soul,irrational,emotional cowardly part.plato,an appreciation of poetry is incompatible  an appreciation of reason,justice ,and the search for truth.In Ion he suggest that poetry causes needless lamentation and happiness.To
him drama is      
                          
                    Plato’s commentary on poetry in republic is overwhelmingly negative.In books 2 and 3 Plato's main concern about poetry is that children’s minds are too impressionable to be reading false tales and misrepresentation of the truth.As stated in book 2 ,for a young person can not judge what is allegorical and what is literal;anything that he receives into his mind at that age is likely to become indelible and undelible and unalterable;and therefor it is most important that the  tales which the young first hear should be model of virtuous thought.He is essentially saying that children cannot tell the difference between fiction and reality and this compromises their ability to discernright from wrong.Thus,children should not be exposed to poetry so that later in life they will be able to seek the truth without having a preconceived,or misrepresented,view of reality.Plato reasons that literature that portrays the gods as behaving in immoral ways should be kept away from children ,so that they will not be influenced to act the same way.

                 Another objection is that it is often viewed as portraying either Male dominance or female exploitation.People argue that this should not be the way the word works;therefore it is not the truth.These claims sound much like the claims that Plato is trying to make when he asserts that certain poetry should be kept out of the hands of children.While the power of censorship can be abused ,Plato seemed to believe that his stance is justified because he is trying to make children grow to be good ,moral individuals.While Plato has some very negative view on the value of literature ,he also ststes the procedures that he feels are necessary in order to change poetry and literature from something negative to something positive.He does feel that some literature can have redeeming values.Good ,truthful literature can educate instead of corrupting children .In the city plato would allow only hymns to the gods and praised to famous men.Plato does not want literature to corrupt mind he wants it to display images of beauty and grace .Plato’s view may be deemed narrow minded by today’s society,but one must remember that Plato lived over 2000 year ago.He probably wrote republic with the best intention for the people of his time.While his views on censorship and poetry may even seem outlandish today,Plato's goal was to state what he judge to be the guidelines for a better human existence.

1) plato' objection to poetry from the
     Point of view of Education :

a) In ‘The republic’book 2- He condemns poetry as fostering evil habits and vices in children. Homer's epics were not example of should or ideal morality.They were lusty,cunning ,and cruel-war mongers.Even Gods were no batter.

b) Plato writes: “if we means our future guardians to regard the habit of quarreling among themselves as of all things the basest,no word should be said to them of the wars in the heaven,or of the plots and fighting of the gods against one another,for they are not true…if they would only believe as we would tell them that quarreling is unholy,and that never up to this time has there been any quarreling  between citizens…these tales must not be admitted into ourstate,whether they are supposed to have allegorical meaning or not”.

C)  Thus he objected on the ground that poetry does not cultivate good habits among children.

2) objection from Philosophical point of
     view :

a) In ‘The Republic’ Book 5:poetry does not lead to,but drives us away from the realization of the ultimate reality –the
truth.
        
b) Philosophy is better than poetry because philosophy deals with idea and poetry is twise removed from originl idea.

c) Plato says : “The imitator or maker of the knows nothing of true existence;he knows appearance only …The imitative art is an inferior who marries an inferior and has inferior offspring.”

3) objection form the moral point of
     view :

a) In the same book in ‘The Republic’:Soul of man has higher principles of reason as well as lower constituted of baser impulses and emotions.Whatever encourages and strengthens the rational principle is good,and emotional is is bad.

b) Poetry waters and nourishes the baser impulses of men-emotional, sentimental and  sorrowful

c) Plato says : “Then the imitative poet who aims at being at being popular is not by nature made,nor is his art intended,to pleaseor to affect the rational principle in the soul ;but he will prefer the passionate and fitful temper,which is easily limited…And there for we shall be right in refusing to admit him into a well order state ,because he awakens and waters the passion instead of drying them up;she lets then rule,although they ought to be controlled,if mankind are ever to increase in happiness and virtue.”

 These are Plato's principal charges on poetry and objection to it .Before we pass on any judgment ,we should not forget to keep in view the time in which he lived .During his time:
Political instability.

              Education was in sorry state.Homer was part of studies-misrepresented.

      Woman were regarded inferior-slavery

      Best time of Greek literature was over –corruption and degeneration in literature.

     Confusion prevailed in all spear of life-intellect,moral,political and education.

      Example;philosophers and thinkers like socrates were imprisoned,forces to drink wine/poison and kill him.

Aristotle replied to them one by one his
defense of poetry :

   1) Plato says that art being the imitation of the actual is removed from truth.It only gives the likeness of a thing in concret,and the likeness is always less than real.Bit Plato fails to understand that art also give something more which is absent in the actual.The artist does not simply reflect the real in the manner of a mirror.Art is not slavish imitation of reality.Literature is not the photographic reproduction of life in all its totality.It is the representetion of selected events and characters necessary of a coherent action for the realization of artist’s purpose.He even exalts,idealizes and imaginativaly recreates a world which has its own meaning and and beauty.These elements,present in art,are absent in the raw and rough real.While a poet creates something less than reality he at the same times creates something more as well. He puts an idea of the reality which he perceives in an object. This ‘more’, this intuition and perception, is the aim of the artist. Artistic creation cannot be fairly criticized on the ground that it is not the creation in concrete terms of things and beings. Thus considered, it does not take us away from the Truth but leads us to the essential reality of life.

2) Plato again says that art is bad because it does not inspire virtue,does not teach morality.But it is teaching the function of the art?Is it the aim of the artist?The function of art is to provide aesthetic delight ,communicates experience,express emption  and present life .It should never be confused with the function of ethics which is simply to teach morality.If an artistsucceeds in pleasing us in aesthetic sense,he is a good artist.If he fails in doing so,he is a bad artist.There is no other criterion to judge his worth.Plato’s charge that needless lamentation and ecstasies at the imaginary events of sorrow and happiness encourages weaker part of soul and numbs faculty of reason .The charge is defended by Aristotle in his Theory of  catharsis .David Daiches summarizes Aristotle’s views in reply to Plato's charges in brief: “Tragedy (Art) gives new knowledge ,yield aesthetic satisfaction and produces a better state of mind.”

3) Plato judge poetry now from the educational standpoint ,now form the philosophical one and then from the ethical one.But he does not care to consider it form its own unique standpoint .He does not define its aims .He forgets that everything should be judged in terms of its own aims and objective its own criteria of merit.We cannot fairly maintain that music is bad because it does not  sing .Similarly ,we cannot say that poetry is bad because it does not teach philosophy of ethics.If poetry ,philosophy and ethics had identical function,how could they be different subjects?To denounce poetry because it is not philosophy of ideal is clearly absurd.

Reference :
             
             In material.

To  evaluate my  assignment click here

Assignments - 1

Name:  Bhaliya  Hansa  G.

Roll. No. : 10

Paper No. - 1 - The Renaissance Literature

Class : M. A. sem -  1

Topic : Examine    " Doctor  faustus  as   a
             Morality play

Enrollment No : 2069108420190004

Email ID : hansabhaliya20@gmail.com

Submitted: Department of English M. K.
                    University,  Bhavnagar

Signature :
              
Dr.  Faustus  As a Morality  play..

About   Christopher  Marlowe :

                                                                                        Christopher Marlowe was an Actor, Poet, and playwright during the reign of Britain’s queen Elizabeth. “ Dr. Faustus  “ is the most famous of Marlow’s plays, and it’s hero, who sells his soul to the devil in return for twenty-four years of power and pleasure, is by far the best known of his rebellious protagonist.Marlowe based the plot of his play

Marlowe  based  the  plot  of  his  play

“ The History if The Damnable life and Deserved Death of doctor John Faustus (1592).
             
                Play is based on Christopher Marlowe’s stories about Scholar and magician. The play is a tragic comedy and only I learn that it’s widely believed that Marlowe only constructed it is beginning and conclusion. It’s said that he wrote the tragic elements, where as two other collaborates wrote the dialogue in the middle.. Really.. Christopher Marlowe is one of the greatest classical playwright.

About  morality  play  :

                                          The Morality Play were most famous in Europe during the 15^th and 16^th centuries. The Morality Play developed during the Medieval period. Morality Plays typically contain for a protagonist, who represents either huminity as a whole or smaller social structure, and other sMorality plays uses allegorical characters to teach the audience moral lessons, typical Christian nature. In Dr. Faustus play central characters are falls into evil ways. The presence of evil and virtuous adviser is also reminiscent of the Morality Plays. According to M.H.Abrams..,upporting characters are personifications of “Good and evil        

        Morality plays ucharacters ttmlessons, typical Christian nature. In Dr. Faustus play central characters are falls into evil ways. The presence of evil and virtuous advisealso of the Morality Plays. AccordingMorality plays uses allegorical characters to teach the audience moral lessons, typical Christian nature. In Dr. Faustus play central characters are fall

Paper : 2 characteristics of Neo - classicàl Age ( Assignment)

Characteristics of Neo - classical Age ( Assignment)

By Name : Bhaliya Hansa G.

Roll. No.  : 10

Paper No. : 2 The  Neo  classical Literature

Class:  M. A.  Sem -  1

Topic : characteristics of Neo-classical
             Age

Enrollment No: 2069108420190004

Email ID :hansabhaliya20@gmail.com

Submitted : Department  of English M. K.
                      University

Signture

The Meaning

     The word neoclassicism has derived from Greek “neos” means “new” and Latin “classicus” means “relating to ancient Greek or Latin principles of the forms of art.”  The neoclassicism was a movement against the too much use of individualism and imagination in literature as well as the violation of classical rules and regulations in literature. The followers of the classical literature tried to put the classical norms back in literary forms and other arts also. 

General characteristics of the  Age:
⇨    The Historical background:

       The period of English history from 1700 to 1798, commonly referred to as the Pseudo-classical or Neo-classical age, may conveniently be divided into two; The early half from 1700-1740, may be called the Age of Pope, for Pope was the leading poet and man of letters of the period, the later half of the century from 1740-1798 may be called the Age of Dr. Johnson, for Dr. Johnson was its leading literary figure. During this time first Queen Anne and then the three Georges ruled over England. Matthew Arnold refers to the period as, "Our admirable and indispensable 18th century", for the age saw the rise of the social Essay and the Novel, and the development of the modern prose style.

              
     Religion and the Rise of Feeling:

       This renaissance of feeling is best illustrated in the case of religion. In the age of Pope Religion had been formal, utilitarian and un-spiritual. The preachers no longer tried to convince by appealing to the reason, rather they tried to move by appealing to the emotions. They no longer cared for propriety and correctness; rather they preached with impassioned tones and gestures. The sentimentalism of the age takes various forms.

The  Age of complacency:

                     there is one word besides ‘façade’ that describes the neoclassical period, it is ‘complacency.’ This was an age where comfort was celebrated. The British felt relatively invincible politically, which led to an assumption of their moral and intellectual supremacy. It is the age of the rise of the Middle Class. It is an age of conspicuous consumption; Martha Stewart would have felt right at home. For the first time periodicals are filled with advertisements for home decorations, fashions, and furniture. Architecture enters the Baroque period. It becomes very important to wear clothing by the best designers, to have your hair done by the best hairdressers, and so on, and so forth. People whose parents were servants now had servants themselves.

                 
  The  Emergence of the middle  class :

                         Another  important feature
of  the  age in the  emergence of the
Middle  class which gradually  gained in
importance in politics,  in life and in
society.

                   
The  spirit of the  age :

                     After the succession of the House of Hanover the first half of the eighteenth century was a period of stabilization and steadily growing wealth and prosperity. The evils of the approaching Industrial Revolution had not yet been realized, and the country, still free from any suggestion of acrimonious class consciousness, underwent a period of comfortable aristocratic rule, in which local government rested on the squires, typified by Sir Roger DE Coverley. It was an age of tolerance, moderation, and common sense, which, in cultured circles at least, sought to refine manners and introduce into life the rule of sweet reasonableness. The balance of political power in spite of the fifty years superiority of the Whig oligarchy, was so even as to preclude fanatical party policies, while the established church pursued a placid middle way and all religion was free from strife over dogma and the fanaticism which it called ‘enthusiasm’ until Wesley and Whitefield began the Evangelical Revival. This middle way of control and reason, and the distrust of ‘enthusiasm’, are faithfully reflected in the literature of the period.
                    
The marketplace of Literacy :

                 
                All these changes meant profound changes for literature. The emphasis on self-reflection meant that genres like diaries, letters, and essays were more popular—and often read alone, in a separate reading room or ‘closet’ within the home. At the same time the new social fluidity meant that genres like the newspaper and periodical, the novel, the popular ballad, and the theatre would also find widespread public audiences. It is the age of the penny dreadful and the lending library.

Literary  characteristics  of  the  age:
            
                  The political and social changes, which exhibit the supremacy of good sense, rationality and avoidance of enthusiasm, left an indelible influence on the literature of the Age of Pope. Summing up the characteristics of the literature of this period, Hudson remarks: "The same temper marks the literature of the age, which exhibits a similar coldness and want of feeling, and a similar tendency towards shallowness in thought and formality in expression. It is a literature of intelligence , of wit, and of fancy, not a literature of emotion, passion, or creative energy; and in it spontaneity and simplicity are sacrificed to the dominant mania of elegance and correctness.

The  predominance of prose :
                
                  The age of Pope intensified the movement that, as we have seen, began after the Restoration. The drift away from the poetry of passion was more pronounced than ever, the ideals of ‘Wit’ and ‘common sense’ were more zealously pursued, and the lyrical note was almost unheard. In its place we find in poetry the overmastering desire for neatness and perspicuity, for edge and point in style, and for correctness in technique. These aims received expression in the devotion to the heroic couplet, the aptest medium for the purpose. In this type of poetry the supreme master is Pope; apart from him the age produced no great poet. On the other hand, the other great names of the period-Swift, Addison, Steele, Defoe- are those of prose- writers primarily, and prose- writers of a very high quality

1) political  writing :

                        We have already noticed the rise of the two political parties, accompanied by an increased acerbity of political passion. This development gave a fresh importance to men of literary ability, for both parties competed for the assistance of their pens, bribed the author with places and pensions, and admitted them more or less deeply into their counsels. In previous ages authors had to depend on their patrons, often capricious being or upon the length of their subscription lists; they now acquired an independence and an importance that turned the heads of some of them. Hardly a writer of the time is free from the political bios. After being a Whig, Swift became a virulent Tory; Addison was a tepid Whig; Steele was Whig and Tory in turn. It was indeed the Golden Age of political pamphleteer, and the writers made the most of it

2) The  clubs and coffee - houses :

            
            Politicians are necessarily gregarious, and the increased activity in politics led to a great addition to the number of political clubs and coffee-houses, which became the foci of fashionable and public life. In the first number of the Tatler Steele announces as a matter of course that the activities of his new journal will be based upon the clubs. All accounts of Gallantry, pleasure, and Entertainment shall be under the article of White’s Chocolate-House; poetry under that of wills coffee-House; Learning under the title of Grecian; foreign and Domestic News you will have from Saint James’ coffee-house. These coffee-houses became the ‘clearing-houses’ for literary business, and from them branched purely literary associations such as the famous scribblers and Kit-Cat Clubs, those haunts of the fashionable writers which figure so prominently in the writings 

3) periodical writing :

               
             The development of the periodical will be noticed elsewhere. It is sufficient here to point out that the struggle for political mastery led both factions to issue a swarm of Examiners, and similar publications. These journals were run by a band of vigorous and facile prose- writers, who in their differing degrees of excellence represent almost a new type in our literature.
         
4) The  New  publishing  Houses :

          
           The interest in politics, and probably the decline in the drama, caused a great increase in the size of the reading public. In its turn this aroused the activities of a number of men who became the forerunners of the modern publishing houses. Such were Edmund Curll (1675-1747), Jacob Tonson (1656-1736), and John Dunton (1659-1733). These men employed numbers of needy writers, who produced the translations, adaptations, and other popular works of the time. It is unwise to judge a publisher by what authors say of him, but the universal condemnation leveled against Curll and his kind compels the belief that they were a breed of scoundrels who preyed upon author. The miserable race of hack-writers- venomously attacked by Pope in The Dunciad- who existed on the scanty bounty of such men lived largely in a thoroughfare near moor fields called Grub Street, the name of which has become synonymous with literary drudgery.

5) The New morality :
       
               immorality of the Restoration, which had been almost entirely a court phenomenon and was largely the reaction against extreme Puritanism, soon spent itself. The natural process of time was hastened by opinion in high quarters. William 3 was a severe moralist, and Anne, his successor, was of the same character. Thus we soon see a new tone in the writing of the time and a new attitude to life and morals. Addison, in an early number of The Spectator, puts the new fashion in his own admirable  way.

          
            " I   shall Endeavor to enliven morality with wit, and to temper with morality.’’

Another development of the same spirit is seen in the revised opinion of women, who are treated with new respect and dignity. Much coarseness is still to be felt, especially in which Swift, for instance, can be quite vile; but the general upward tendency is undoubtedly there.

Neoclassical  poetry

       
Neoclassical poetry is characterized as such because it reflects the ideas of the neoclassical period in history, which occurred in the 17th and 18th centuries. Some of the major themes during this period included the importance of reason, morality, and order. In both content and form, these themes were emphasized in neoclassical poetry.

                 "   In poetry, the tradition continued of brilliant topical satire and of didactic poetry that frequently was more tedious than brilliant. Appeal was normally sought to what was variously called Reason, Nature, or Common Sense. Polish and elegance of form were of more importance than subtlety or originality of thought." So Moody and Lovett comment on the poetry of this period.
                   
Major poets  :

            Alexander Pope (1688-1744). Born in 1688, Pope wrote tolerable verse when he was twelve years old. He was the son of a London tradesman. His tiny and delicate physical constitution, and his faith in Roman Cathlicism greatly influenced his career as a poet. Due to his ill health he was privately educated, and could not cultivate the knowledge of the world of nature or of the world of human heart. By reason of the sweeping laws against the entrance of Catholics into public service, he was shut out from the ordinary career of Englishmen in Parliament, the Church, or the Army. So, he dedicated his whole life to literature. Other men of letters of his age had other engagements but he rose only to be a poet. W. J. Long remarks: "Swift was a clergeyman and politician, Addison was Secretary of State, other writers depended on patrons or politics or pensions for fame and a livelihood; but Pope was independent, and had no profession, but literature." Pope received very little school education, but he privately studied English books and picked up a smattering of the classics. 

        
               Matthew Prior's (1664-1721) first work is a parody of Dryden's The Hind and the Panther, entitled The Town and Country Mouse (1687). It was written in collaboration with Charles Montagu. His other works are Alma, or The Progress of the Mind (1718) and Solomon on the Vanity of the World (1718). Alma is an imitation of Butler's Hudibras and Solomon is written in heroic couplet. Prior's longer poems lack in strength, power and passion. Prior's reputation rests on his shorter pieces which are The Chameleon, The Thief and the Cordelier, and a number of poems, To Chole.
    
          
              John Gay (1685-1732) is best remembered for his Fables (1727), which is colloquial, easy, octosyllabic, and The Beggar's Opera (1728), which is a famous play. It contains some pretty songs and much genuine but boisterous humour. Gay's chief poetic works are The Rural Sports (1713), written in the heroic couplet, The Shepherd's Week (1714), What d' Ye Call It (1715), a pastoral farce, and Trivia or The Art of Walking the Streets of London (1716), a witty parody of the heroic style. Gay mirrors the manners and outward show of his 

           John Gay (1685-1732) is best remembered for his Fables (1727), which is colloquial, easy, octosyllabic, and The Beggar's Opera (1728), which is a famous play. It contains some pretty songs and much genuine but boisterous humour. Gay's chief poetic works are The Rural Sports (1713), written in the heroic couplet, The Shepherd's Week (1714), What d' Ye Call It (1715), a pastoral farce, and Trivia or The Art of Walking the Streets of London (1716), a witty parody of the heroic style. Gay mirrors the manners and outward show of his age.

              Edward Young (1683-1765) wrote varied kind of poetry. His Last Day (1714) and The Force of Religion (1714) are moralizings written in the heroic couplet. The Love of Fame (1725-28) shows an advance in the use of the heroic couplet. He is remembered for The Complaint or Night Thoughts on Life, Death and Immortality (1742), which is written in the blank verse. It was occasioned by the death of his wife. It is a lengthy poem of sententious reflection and shows considerable technical skill in the management of the blank verse, but it is handicapped by a stilted, theatrical phraseology. It anticipates the "Churchyard School" of poetry.

                Samuel Garth's (1661-1719) The Dispensary (1699) is a satire on the Society of Apothecaries. It is written in the couplet.

⇨    William Somerville (1675-1742) wrote The Chase, a gloomy and sombre poem, imitating the 'Churchyard School' of poetry.

Conclusion :

                      Thus, We can say that such characteristics were there during 18^th century which were reflect by play, drama, novel, poetry and other literary arts. Reflection of society and behavior of contemporary time.   

Assignment - 4

Name : Bhaliya  Hansa  G.

Roll. No. : 10

Paper No. - 4 -  India writing in  English.

Class : M. A. Sem - 1

Topic : write a critical apprication on The
            Fakeer of  jungle era.

Enrollment No :  2069108420190004

College : Smt. S. B. Gardi Department of
               English

Email ID : hansabhaliya20@gmail.com.

Submitted : Department of English M. K.
                      University, Bhavnagar

Signture :y

      1. Analysis of the fakeek of jungheera

      . Introducti

Introduction the fakeek of Jung 

Faustus has many features of Morality Play : just like Good Angles and Bad Angles, good and evil, old woman, seven deadly sins and the appearance of Lucifer, Belzebub and Mephistophilis  to ensare his “ Glorious Soul”.heera is a long poem by Henry Louis Vivian Derozio. He was born on 18^th April, 1809 in Kolkata west Bengal…… he was a radical thin key and one of the first Indian educators to disseminate western education and science among the young man of Bengal. He died of cholera at the age of no           

 Faustus has many features of Morality Play : just like Good Angles and Bad Angles, good and evil, old woman, seven deadly sins and the appearance of Lucifer, Belzebub and Mephistophilis  to ensare his “ Glorious

             

8Assignment of chetan Bhagat and his marketing popular literature

Name :Bhaliya Hansa G.

Course: MA

Semester : 2

Roll no : 10

Batch :2018-20

Enrollment :2069108420190004

Paper no: cultural studies
                 
Topic : chetan Bhagat and his marketing
             Popular literature.

Email : hansabhaliya20@gmail.com

Submitted to : Smt. S. B. Gardi Dept of

                          English MKBU

                 
Introduction :
                       
                      This is my assignment as part of my second semester in M.A. As a student of literature there are some questions regarding any literature. So here I want to clear these many questions as under, 

What are cultural studies?

Is Chetan Bhagat popular novelist?

How marketing helps author for selling the book?

How Chetan Bhagat selling his book?

What is his style of marketing
         
        What is Cultural Studies?

                   Culture studies are very difficult to understand because the word “culture” is so wide like umbrella term so cultural studies is hard to define. Cultural studies is composed of elements of Marxism, post structuralism, structuralism and postmodernism, feminism, gender studies, anthropology, sociology race and ethnic studies, film theory, urban studies; public policy, popular culture studies and postcolonial studies.

             Cultural studies approach sometimes concerns not only the work that is produced but also the means of production. It gives new vision of looking at the literature. It means cultural studies pay attention on who the writer wrote the book and how to publish it and also the author and publisher and how to marketing the book.  Here I like to talk about Chetan Bhagat, now days he is very popular novelist. His novels are very popular among the people. He is famous for his great work.

Chetan Bhagat as a popular writer:
  
                       Chetan Bhagat was born Delhi in Panjabi family. His father was army officer and mother was government employee in the agriculture department. He completed his school from the army school in Delhi. He received his bachelor degree from Indian institute Delhi in 1995 and his M.B.A Degree from Indian institute of management in 1997. First he wrote five point someone when he worked in Goldman Sachs in Hong Kong as an inventer’s banker.  He married with Anush suryavansham in 1998, who was his classmate in IIM Ahmadabad. He wrote some novels like as under…

          
-         Three mistake of my life

-         Revolution 20-20

-         Two states

-         One night at the call centre

-         Half girl friend, etc.

     
           These all novels become popular but his literature not consider as high literature. He writes in a very simple language, so everyone can read English easily. He is popular because he is writing in student friendly language; there are no any complicated words or structure which is hard to understand. The most important thing of his popularity is his plot and story is based on contemporary time and youngsters. So he is famous in youngsters, the larger part of population who reads literature. His literature is just famous now but in future it can be possible that it will be consider as important part of literature as popular literature. It may happened that in future it consider as valuable but today it is not because of critics and his style of writing.

What is marketing?
             
                 Marketing means if we want to sell our products so we can make advertise on it make some interesting Title or front page so it looks like attractive. And when people look at it at that time he thinks what is in it? And to know the things he/she purchase things. And if we do this type of process to make our product popular so we call it marketing. It’s about presenting the work towards the audience in a very interesting way so selling can be increased. Marketing is a way to gain fame and money. A little marketing can also help to increase selling. This is the simple understanding about marketing. And in this era it become in many area like in film products, house hold things, food, book, etc. In everything we can see that how marketing played a vital role. There are two movies which we can compare like ‘Rang Rasiya’ and ‘P.K’ if we look at these two movies artistically so ‘Rang Rasiya’ is the better that ‘P.K’. But P.K becomes more popular than Rang Rasiya because of its marketing. As we know that the main figure in the movie Amir Khan he is popular and because of his role also it becomes popular. So marketing is very important thing to make product popular. 

How Marketing helps to author for selling book?

          Marketing helps to author for selling books because of marketing people know about that book. If writer makes trailer for that book so it helps a lot.  Internet is the best medium for marketing and author can easily do it. In old time it’s hard to do marketing but now days it’s too easy. People can know about author, text and trailer, etc. After watching these all things they think to purchase it and thus it helps to author. So we can say that marketing is a very important tool to become popular. Author can take help of a place where people used to go more and more, such like as mall, theatre and all other place.  He can go there and give his copy of book as a sample with his signature, present of author can help him in more marketing or rather in good marketing.

Author can also use of a video as a trailer of his book.

How Chetan Bhagat selling his books?

                 Chetan Bhagat is very popular writer even though he writes in English. He become famous because of his some trick also like making trailer, attractive front page, his style of writing, use of language, naming of his novels, name of the characters, etc. He uses these all things in proper way so it becomes so important. So he is very intelligent person who know everything. He is a writer who becomes world known as popular.  
      
                  His most important marketing is his subjects which are talking about the problems of youth and how it can be solved. He has a good instinct of understanding the issues of youngsters, and presentation of him is very interesting and easy to convince the readers. 

                 Another important part of his marketing is the price of his books. It is very affordable to young pockets. The price is around 99 to 150Rs. Which can be comfortable for all.

                  His one more plus point is his narratives. In contemporary time, no one likes to read long narratives or bulky books. People have no time to think on a single thought for a long time. He has that excellence to describe his narratives in a very short text. His books have a various kind of characters but though its narrative is like novella, one can read it in a single sitting. 

                 His narrative style is very simple and rarely dictionary is required. it is a very  simple language, very well known diction and it’s all about campus novel, there are campus slangs, symbols and metaphors etc.

                 He has the insight of looking towards audience’s perspective. He has involved youth problems like job, entrepreneurship, marriage (two states), education system (three mistakes of my life) and more other
    
                  His main marketing can be said that use of social media, he is available on face book, twitter, you tube, personal blog, personal website and on such very important communication ways for him to his readers. People inspire to read his books on per his twitter posts and face book posts. He represents his views to world with his social media accounts. He also used to come on television shows to represent his personality to gain fame. He also came on a television show “Nach Baliye” on star plus as a judge of a dance show, and was criticized a lot about his dancing knowledge, but though it was like a part of his publicity. 

     He served at NIIT Ltd. Siemens AG, and American Express until he co-founded the publishing house Grapevine India in June 2011. In 2009, he was recognized as the young achiever by The Times of India. He was also chosen as one of the two young achievers in the field of Media and Communications by Whistling Woods International in 2011. His debut show Sadda Haq - My Life, My Choice won the Youth Show - fiction category at Zee Gold Awards in 2014 and at Indian Telly Awards in 2014 and 2015.

A noted public intellectual, Bhagat also writes for columns about the youth, career development and current affairs for The Times of India (in English) and Dainik Bhaskar (in Hindi).He worked in Goldman Sachs in Hong Kong as an Investment Banker for nearly a decade, and wrote Five Point Someone while still in Hong Kong, before moving to Mumbai to focus full-time on his writing career.

Chetan Bhagat and Durjoy Datta both of them are young writers and in their novels we find that both of them write about young India. The main characters of the novels are young and also the ongoing problems of youth. They describe the sugar solution of the problems. They describe various perspective of the human relationship.

   
   In this time people don’t have much time to read the longer narrative or even to ponder deeply on the single thought. Here we find that both of them write a story like a novella which we can read at one seat ad also very easy to remember. Sometimes it may happen that the long narrative become a kind of boring to read and read can’t complete it.

       While we read novels of both of them we find that it is very easy for us to understand. We don’t require dictionary at every page but we can understand it most of the time. Even we find that it is written in youth friendly style and also I conversational.

To be a great or a successful writer one is always careful about the target audience and their zeitgeist. Their target audience are getting admission in to IIT/IIMs, Call center, Job, Entrepreneurship, Marriage, education system as enterprise, Air hostess, singer, Medical, Hostel life, friendship 

    
Thus here we find that both of them are very famous writers of the modern time I India. Even most of us have read both of them because now days they become writer of the bestselling books. Not only one but both of them have written many books and all of them become very popular. Chetan Bhagat and Durjoy Datta both are not only writers of the bestselling books but they are also connected with many other activities which shows that to be writer of bestselling book is not enough but one also have to be very enthusiastic to show the talent at any platform.