FIRST
SESSION
- Read only the poems whose names are mentioned in the SLM Block books of Ignou.
- Read the poetries aloud for retention and remembrance.
- In Exams, one is totally allowed to explain the poetry lines as you understand. We are allowed to interpret the entire poem as we understand, but we have to provide the reasons for the same.
- Poetic Movements are important from exam point of view.
- Reference to the Context questions are always there and are always important for exams.
- EXPLAIN THE PROSE OR POETRY OR DRAMA LINES AS YOU UNDERSTAND IT.
- You have to interpret the prose or poetry or drama or novel as per your understanding of the content.
- No need to read all the complete novels, but it could be helpful if you did so.
- READ ALL THE SLM BLOCKS OF IGNOU.
- NEXT YEAR: Choose these easy subjects to study and learn.
- MEG 10 – MEG 11 – MEG 06 – MEG 07 – MEG -08
- No questions asked personally on or about Mr. Christopher Marlowe.
- Dr. Faustus is popularly known as the “King of Tragedy”.
- 1.2. 1.3, 1.11, (Read and write short notes)
- 2.3, 2.4, 2.5 (Read)
- From 2.7 till 2.10 is the SUMMARY OF THE PLAY.
- 3.3, 4.2, 4.8, 5.7
Introduction to the Play “Doctor Faustus,” written by Christopher Marlowe, is an Elizabethan tragedy that explores themes of ambition, knowledge, and the human condition. The play is based on German folklore surrounding the character Faust, who makes a pact with the devil in exchange for magical powers and worldly pleasures. It was likely composed between 1592 and 1593 and has since become a significant work in English literature.
Despite warnings from an old man urging him to repent, Faustus ultimately succumbs to despair. On the final night before his contract expires, he desperately seeks mercy but finds it too late as devils come to claim his soul at midnight. The play concludes with scholars discovering Faustus’s remains and deciding to hold a funeral for him.
Themes Several key themes permeate “Doctor Faustus”:
- Ambition and Desire for Knowledge: Faustus embodies the Renaissance man’s thirst for knowledge beyond earthly limits. His ambition leads him to forsake divine wisdom in favor of dark magic.
- The Nature of Evil: The play examines the consequences of making deals with evil forces. Faustus’s pact with Lucifer illustrates how ambition can lead one down a path of destruction.
- Redemption and Damnation: Throughout the play, Faustus grapples with opportunities for repentance but ultimately chooses despair over redemption.
- The Conflict between Good and Evil: The presence of Mephistopheles represents temptation while characters like the old man symbolize hope for salvation.
- Human Limitations: Despite his extraordinary powers granted by Mephistopheles, Faustus remains bound by human limitations—his inability to escape fate or find true happiness highlights existential themes.
- Doctor Faustus: A tragic hero whose insatiable desire for
knowledge leads him to make a fateful pact with Lucifer.
- Mephistopheles: A complex character who serves as both a tempter
and a reminder of the consequences of Faustian bargains.
- Wagner: Faustus’s servant who also dabbles in magic; he
represents a more comic side of ambition.
- Helen of Troy: Summoned by Faustus as an embodiment of beauty;
her appearance signifies both desire and illusion.
Performance History “Doctor Faustus” has been performed numerous times since its inception; early productions were noted for their dramatic effects that reportedly included actual devils appearing on stage—a testament to its powerful impact on audiences at that time.
A MIDSUMMER NIGHT’S DREAM
- No Questions asked on William Shakespeare’s life.
- All the plays written by Shakespeare were not original at all.
- William Shakespeare wrote 37 plays.
- Shakespeare wrote or scripted the plays in the common man’s language of English.
- The 37 plays involved Tragedies, Comedies and Histories. Shakespeare wrote in all the above genres.
- William Shakespeare knew about the human Psyche and Psychology.
Introduction “A Midsummer Night’s Dream” is a comedic play written by William Shakespeare, believed to have been composed around 1595 or 1596. The narrative unfolds in Athens and the surrounding enchanted forest, intertwining various plots that explore themes of love, magic, and transformation.
Theseus: Duke of Athens, preparing for his marriage to Hippolyta.
Hippolyta: Queen of the Amazons and fiancée to Theseus.
Hermia: In love with Lysander but pressured to marry Demetrius.
Helena: In love with Demetrius, who does not reciprocate her feelings.
Lysander: Hermia’s beloved who plans to elope with her.
Demetrius: The suitor chosen by Egeus for Hermia but loves her friend Helena instead.
Peter Quince: A carpenter and director of the play within the play.
Nick Bottom: A weaver who comically plays Pyramus in their performance.
Other members include Flute, Snug, Tom Snout, and Robin Starveling.
Oberon: King of the Fairies who seeks revenge on Titania.
Titania: Queen of the Fairies who has a magical child Oberon desire.
Puck (Robin Goodfellow): Oberon’s mischievous servant who causes much of the chaos.
- Act I introduced Theseus and Hippolyta’s upcoming
wedding while establishing Hermia’s defiance against her father’s wishes.
She plans to elope with Lysander into the woods, where they hope to escape
Athenian law. Helena follows Demetrius into the forest in hopes of winning
his love back.
- In Act II, Oberon and Titania’s quarrel leads Oberon to use
a magical flower that causes love at first sight. Puck mistakenly applies
it to Lysander instead of Demetrius, causing confusion among the lovers
when both men fall for Helena.
- Act III sees Puck transform Bottom by giving him an ass’s
head while Titania falls in love with him due to Oberon’s spell. The
lovers are further entangled in misunderstandings as they chase each other
through the woods.
- In Act IV, Oberon restores Titania’s sight after she has
spent time with Bottom. He also corrects Puck’s mistakes regarding
Lysander and Demetrius so that they end up loving their rightful partners
again.
- Finally, Act V concludes with all couples reconciled and married
during Theseus and Hippolyta’s wedding celebration. The Mechanicals
perform their humorous rendition of “Pyramus and Thisbe,” which adds a
layer of comedy to the resolution.
- The nature of
love: Love is portrayed as
irrational and often chaotic.
- Magic: The influence of magic highlights how easily
affections can be manipulated.
- Transformation: Characters undergo physical and emotional
transformations throughout their experiences in the forest.
Introduction to the Structure of the Play
“A Midsummer Night’s Dream” by William Shakespeare employs a unique narrative technique known as the “play-within-a-play.” This structure serves multiple purposes, enriching the overall themes and engaging the audience in a multifaceted exploration of love, art, and reality. The play is primarily divided into two main plots: the romantic entanglements of four young lovers and the comedic antics of a group of amateur actors, known as the Mechanicals, who are rehearsing a play for Duke Theseus’s wedding.
The Mechanicals and Their Play
The Mechanicals’ play, which is titled “Pyramus and Thisbe,” is performed in Act 5 of “A Midsummer Night’s Dream.” This subplot serves as a direct commentary on the main action of the play while also providing comic relief. The characters within this subplot are portrayed as bumbling amateurs who take their roles very seriously despite their lack of skill. Their earnestness contrasts sharply with the more sophisticated romantic entanglements occurring among the Athenian lovers.
The performance of “Pyramus and Thisbe” mirrors themes present in the main plot, particularly those surrounding love and misunderstanding. In both narratives, love leads to tragic consequences—Pyramus believes his beloved Thisbe is dead and takes his own life, just as misunderstandings lead to chaos among Hermia, Lysander, Helena, and Demetrius. By including this play within a play, Shakespeare invites audiences to reflect on how love can be both beautiful and tragic.
Commentary on Art and Performance
Shakespeare uses the Mechanicals’ production to comment on theatricality itself. The absurdity of their performance highlights various aspects of theater: from miscommunication to overacting. For instance, Nick Bottom’s transformation into an ass (due to Puck’s magic) symbolizes how easily perception can be altered in both life and theater. The audience witnesses not only a story about love but also an exploration of how stories are told—how they can be manipulated for humor or tragedy.
This self-referential aspect encourages viewers to consider their own responses to art. The laughter elicited by the Mechanicals’ clumsy performance juxtaposes with moments from the main plot that evoke deeper emotional responses. Thus, Shakespeare blurs lines between reality and performance, prompting audiences to question what they perceive as genuine emotion versus theatrical representation.
Themes Explored Through Play-Within-A-Play
The inclusion of “Pyramus and Thisbe” allows Shakespeare to explore several key themes:
Love’s
Complexity: Both plays depict
love’s complications—whether through tragic misunderstandings or comical
missteps.
Reality vs.
Illusion: The dual narratives
challenge perceptions; what seems real may be merely an illusion crafted by
magical interference or theatrical exaggeration.
Artistic
Expression: The Mechanicals’
earnest yet flawed attempt at storytelling reflects broader questions about
artistic merit and authenticity.
WHAT IS THE TRUTH AND FACTS ABOUT SHAKESPEARE NEVER VISITING ATHENS IN GREECE?
William Shakespeare, the renowned playwright and poet, is known for his extensive body of work that includes plays set in various locations, including Athens, Greece. However, there is no historical evidence to suggest that Shakespeare ever visited Athens or Greece during his lifetime. The following points outline the reasoning behind this assertion:
Historical Context: Shakespeare lived from 1564 to 1616, a period during which travel was not as accessible or common as it is today. Most people of his social standing would have limited opportunities for international travel. While some members of the English nobility did travel abroad, particularly to Italy and France, there are no records indicating that Shakespeare undertook such journeys.
Literary Sources: The majority of Shakespeare’s knowledge about ancient Greece likely came from literary sources rather than personal experience. His works often drew upon classical texts and historical accounts available in England at the time. For instance, his play “Timon of Athens” is based on the writings of Plutarch, a Greek historian whose works were translated into English and widely read during the Renaissance.
Cultural Influence: During the Elizabethan era, interest in classical antiquity was significant among educated individuals in England. This cultural movement led to an appreciation for Greek and Roman literature, history, and philosophy without necessitating direct experience in those locations. Shakespeare’s plays reflect this influence through their themes and characters but do not imply firsthand knowledge of Greece.
Geographical Accuracy: While Shakespeare set several plays in Athens (such as “A Midsummer Night’s Dream” and “Timon of Athens”), these settings serve more as backdrops for his narratives rather than representations based on personal observation or experience. The portrayal of Athens in his works often reflects a blend of contemporary English society with classical elements rather than an accurate depiction of ancient Greek culture.
Lack of Evidence: There are no documented accounts or letters from Shakespeare himself that indicate he traveled to Greece or had any direct experiences there. Scholars have extensively researched his life and works but have found no credible evidence supporting claims of such travels.
WHY IS ATHENS MORE LIKE ENGLAND THAN GREECE IN SHAKESPEARE’S LITERATURE?
Understanding the Cultural Context of Shakespeare’s Works
To explore why Athens is portrayed as more akin to England than to Greece in Shakespeare’s literature, we must first consider the historical and cultural contexts in which Shakespeare was writing. The late 16th and early 17th centuries in England were marked by a burgeoning sense of national identity, influenced by the Renaissance and the revival of classical learning. This period saw a fascination with ancient cultures, particularly those of Greece and Rome, yet it also fostered a distinct English character that shaped how these ancient societies were represented.
The Influence of Renaissance Humanism
Renaissance humanism emphasized the study of classical texts and the values they espoused, such as reason, civic responsibility, and individualism. Shakespeare’s works often reflect these humanist ideals. In his portrayal of Athens, particularly in plays like “A Midsummer Night’s Dream” and “Timon of Athens,” he emphasizes themes such as democracy, rational governance, and social order—concepts that resonate with contemporary English values rather than those of ancient Greece.
Political Parallels Between Athens and England
Athens during its golden age was known for its democratic principles; however, Shakespeare’s depiction often aligns more closely with the political realities of Elizabethan England. The English monarchy under Queen Elizabeth I was characterized by a strong central authority that maintained order while allowing for some degree of public participation through Parliament. This blend of monarchy with elements reminiscent of Athenian democracy creates a parallel where Athens serves as an idealized version reflecting English governance rather than authentic Greek practices.
Cultural Reflections in Characterization
Shakespeare’s characters from Athens often embody traits that align more closely with English societal norms. For instance, characters like Theseus in “A Midsummer Night’s Dream” represent a ruler who balances authority with benevolence—a trait admired in Elizabethan leadership. The conflicts faced by these characters frequently mirror those found within English society, such as issues surrounding love, power dynamics, and social class.
Literary Devices and Themes
Shakespeare employs various literary devices to create an atmosphere in Athens that feels familiar to his audience. The use of iambic pentameter and structured dialogue reflects the orderliness associated with English society. Additionally, themes such as love overcoming obstacles or the triumph of reason over chaos are prevalent in both Athenian settings and Elizabethan life.
Conclusion: A Reflection on Identity
Ultimately, Shakespeare’s portrayal of Athens can be seen as a reflection not just of ancient Greek culture but also as a canvas upon which he painted contemporary English ideals. By aligning Athenian characteristics with those valued in England—such as rational governance, social harmony, and moral integrity—Shakespeare effectively makes Athens feel more like an extension of his own society than a representation of ancient Greece.
In summary, Athens is depicted as more like England than Greece in Shakespeare’s literature due to the influence of Renaissance humanism emphasizing shared values; political parallels between Athenian democracy and Elizabethan governance; characterization reflecting English societal norms; and literary devices creating familiarity for contemporary audiences.
· 2.2, 2.3, 3.2, 3.3
SECOND SESSION
To Read and Reflect seriously on:
· 1.4,2.2,2.3,2.4,3.4,4.2
Overview of the Plot in Hamlet
Act I: The Ghost’s Revelation
The play begins at Elsinore Castle in Denmark, where guards witness the ghost of the recently deceased King Hamlet. They inform Prince Hamlet’s friend Horatio, who decides to tell Hamlet about the apparition. When Hamlet meets the ghost, it reveals that he was murdered by his brother Claudius, who is now king and married to Hamlet’s mother, Gertrude. The ghost urges Hamlet to seek revenge for his murder. Disturbed by this revelation and his mother’s hasty remarriage, Hamlet vows to feign madness as he plots his revenge.
Act II: The Madness Act
Hamlet’s behavior becomes erratic as he pretends to be mad to confuse Claudius and Polonius, the royal advisor. Claudius and Polonius spy on him, hoping to uncover the cause of his distress. Meanwhile, a group of traveling actors arrives at Elsinore. Hamlet decides to use their performance to gauge Claudius’s guilt regarding his father’s murder by staging a play that mirrors the crime.
Act III: The Play Within a Play
During the performance, Claudius reacts with visible agitation when the actors depict a scene similar to his crime. This confirms for Hamlet that Claudius is indeed guilty. Later, while confronting Gertrude in her chamber, Hamlet accidentally kills Polonius, who is hiding behind a tapestry. The ghost reappears to remind Hamlet of his purpose—to avenge his father’s death.
Act IV: The Consequences of Revenge
Claudius sends Hamlet away to England under the pretense of an ambassadorial mission but secretly plans for him to be executed upon arrival. On the ship, Hamlet discovers this plot and alters it so that Rosencrantz and Guildenstern are executed instead. Back in Denmark, Ophelia descends into madness following her father’s death at Hamlet’s hands and ultimately drowns.
Act V: The Tragic Conclusion
Hamlet returns just in time for Ophelia’s funeral and confronts Laertes, her brother. A duel is arranged between them. During this match, Claudius conspires with Laertes to kill Hamlet using poisoned weapons and wine. In a tragic turn of events, Gertrude drinks from the poisoned cup meant for Hamlet and dies; Laertes wounds both Gertrude and Hamlet with a poisoned rapier before dying himself after revealing Claudius’s treachery. In his final moments, Hamlet kills Claudius before succumbing to poison himself. Fortinbras arrives at Elsinore as the sole survivor among those left standing.
ALCHEMY – The Alchemist
What is Alchemy?
Alchemy is an ancient branch of natural philosophy that combines elements of mysticism, chemistry, and spirituality. It has been practiced across various cultures, including those in China, India, the Islamic world, and Europe. The term “alchemy” is derived from the Arabic word “al-kīmiyā,” which itself traces back to the Greek term “khēmeía.” Alchemists sought to transform base metals into noble metals like gold, create elixirs for immortality or health, and achieve spiritual perfection through a process known as the magnum opus or “Great Work.”
The practice of alchemy encompasses several philosophical traditions that span over four millennia. It is characterized by its use of cryptic symbols and secretive language, making it challenging to trace its historical influences. Alchemy can be divided into three major strands: Chinese alchemy, which is closely linked with Taoism; Indian alchemy, associated with Dharmic faiths; and Western alchemy, which evolved primarily around the Mediterranean region.
In Western alchemy specifically, practitioners believed that all matter was composed of four fundamental elements—earth, water, air, and fire—and that these elements could be transformed through various processes. The ultimate goal was often seen as achieving the Philosopher’s Stone—a legendary substance said to grant eternal life or turn base metals into gold.
Who is an Alchemist?
An alchemist is a practitioner of alchemy who engages in the study and application of its principles. Historically, alchemists were often seen as early scientists or proto-chemists who conducted experiments aimed at understanding the nature of substances and their transformations. They developed laboratory techniques and terminology that laid foundational concepts for modern chemistry.
Alchemists operated within a framework that combined practical experimentation with esoteric beliefs about the universe’s spiritual dimensions. They often worked in secrecy due to societal skepticism and persecution during certain historical periods. While some were genuine seekers of knowledge aiming to unlock nature’s mysteries, others fell into charlatanism or fraud due to the mystical allure surrounding their practices.
In summary:
- Alchemy refers to an ancient philosophical tradition
focused on transformation and purification of materials.
- An alchemist is a practitioner who engages in this art with aims such as transmutation of metals or seeking immortality.
· 2.2
Hamlet
The Prince of Denmark and the play’s protagonist, Hamlet is about thirty years old at the start. He is the son of Queen Gertrude and the late King Hamlet, as well as the nephew of the current king, Claudius. Hamlet is characterized by his melancholy, bitterness, and cynicism. He harbors a deep hatred for Claudius’s scheming and feels disgust towards his mother’s sexuality. A reflective individual who studied at the University of Wittenberg, he often struggles with indecision but can also act impulsively.
Claudius
The King of Denmark and Hamlet’s uncle, Claudius serves as the antagonist of the play. He is depicted as a calculating and ambitious politician driven by his sexual desires and lust for power. Despite his villainous traits, Claudius occasionally reveals signs of guilt and human emotion, particularly in his affection for Gertrude.
Gertrude
Queen Gertrude is Hamlet’s mother and recently married to Claudius after the death of her first husband. She loves Hamlet deeply but is portrayed as shallow and weak, prioritizing affection and status over moral integrity or truth.
Polonius
The Lord Chamberlain of Claudius’s court, Polonius is an old man characterized by pompousness and cunning. He is the father of Laertes and Ophelia and often meddles in their affairs.
Ophelia
Ophelia is Polonius’s daughter and a beautiful young woman who has been in love with Hamlet. She embodies innocence but is heavily influenced by her father and brother, Laertes. Her descent into madness ultimately leads to her tragic death.
Laertes
Laertes is Polonius’s son and Ophelia’s brother who spends much time in France. He is passionate and quick to action, serving as a foil to Hamlet’s more contemplative nature.
The Ghost
The specter of Hamlet’s deceased father claims to have been murdered by Claudius. The Ghost urges Hamlet to seek revenge; however, its true nature remains ambiguous throughout the play, leading Hamlet to question whether it might be a devil sent to deceive him.
Horatio
Horatio is a close friend of Hamlet from their time at university in Wittenberg. He remains loyal to Hamlet throughout the play and survives to tell his story after Hamlet’s death.
Fortinbras
The young Prince of Norway seeks to avenge his father’s honor after being killed by King Hamlet (Hamlet’s father). His ambition contrasts with Hamlet’s indecision.
Rosencrantz & Guildenstern
These two courtiers are former friends of Hamlet from Wittenberg who are summoned by Claudius and Gertrude to uncover the cause behind Hamlet’s erratic behavior.
Osric
A foppish courtier known for his irritating demeanor; he summons Hamlet for his duel with Laertes.
The Gravediggers (Gravedigger)
Two commoners responsible for digging Ophelia’s grave; they provide comic relief through their witty banter while addressing themes related to death.
Yorick
A jester from Hamlet’s childhood whose skull becomes a symbol for mortality when Hamlet reflects on it during a graveyard scene.
Minor Characters
- Marcellus & Bernardo: Officers who first see the ghost.
- Francisco: A
soldier at Elsinore.
- Reynaldo: Polonius’s
servant sent to spy on Laertes.
- Voltimand & Cornelius: Courtiers sent by Claudius to Norway.
- Captain: A
captain in Fortinbras’s army.
BLOCK 5 – VOLUME 2
The Playboy of the Western World
· Unit 1 –
Introduction
“The Playboy of the Western World” is a three-act play written by Irish playwright John Millington Synge. It was first performed at the Abbey Theatre in Dublin on January 26, 1907. The play is set in a public house owned by Michael James Flaherty in County Mayo during the early 1900s and explores themes of identity, heroism, and societal expectations.
Plot Summary
The story revolves around Christy Mahon, a young man who arrives at Flaherty’s tavern claiming to have killed his father. His bold declaration captures the attention of the local community, particularly Pegeen Mike, Michael’s daughter and the barmaid. As Christy recounts his tale, he becomes a local hero, admired for his supposed bravery. However, this admiration is complicated by the arrival of his father, Old Mahon, who is not dead but merely wounded.
As Christy’s story unfolds, he grapples with the consequences of his actions and the shifting perceptions of those around him. Initially celebrated for his alleged crime, Christy’s status changes dramatically when it is revealed that Old Mahon is alive. In an attempt to reclaim his reputation and Pegeen’s affection, Christy attacks his father again. This act leads to further chaos as the townsfolk prepare to punish him for what they believe to be murder.
Ultimately, Old Mahon survives once more, leading to a reconciliation between father and son. The play concludes with Pegeen lamenting her lost love for Christy as he departs with his father.
Characters
- Christy Mahon: The protagonist who claims to have killed his father.
- Old Mahon: Christy’s
father.
- Michael James Flaherty: The publican who offers Christy work.
- Pegeen Mike: Michael’s daughter and barmaid who falls in love with
Christy.
- Shawn Keogh: Pegeen’s betrothed who feels threatened by Christy.
- Widow Quin: A
local widow who attempts to seduce Christy.
- Philly Cullen and Jimmy Farrell: Local farmers.
- Village Girls: Various characters representing the local community.
The play addresses several significant themes:
Heroism and Identity: It questions what constitutes heroism through Christy’s transformation from a cowardly figure into a celebrated “playboy.”
Societal Expectations: The reactions of the townspeople reflect societal norms regarding masculinity and morality.
Reality vs. Perception: The contrast between how characters perceive themselves versus how others perceive them plays a crucial role in driving the narrative.
Upon its release, “The Playboy of the Western World” sparked riots due to its controversial subject matter involving patricide and perceived insults against Irish womanhood. Nationalists viewed it as an affront to public morals. Despite initial backlash, it has since been recognized as a seminal work in Irish theatre.
In summary, “The Playboy of the Western World” remains an important exploration of human nature within a specific cultural context while also serving as a critique of societal values.
BLOCK 6
Pygmalion
- 2.2,2.3,2.4,3.2,3.3,4.2
- All characters are important.
- Manners and etiquettes are really important.
- WATCH THE 1938 FILM ADAPTATION PYGMALLION.
1938 FILM ADAPTATION OF PYGMALLION
- WATCH THE ENGLISH MOVIE – My Fair Lady on this topic. My Fair Lady was inspired by George Bernard Shaw's 1913 play Pygmalion, which was based on the Greek myth of Pygmalion. The musical also drew inspiration from the 1938 film adaptation of Pygmalion.
MY FAIR LADY MOVIE
- WATCH THE HINDI MOVIE – Man Pasand (Dev Anand & Tina Munim). The Hindi movie Man Pasand was inspired by the 1964 American musical film My Fair Lady. The movie features a Hindi version of the song "I Could Have Danced All Night" from My Fair Lady
MAN PASAND MOVIE
THE MARATHI
MOVIE PHULRANI (2023) is a remake of the American musical
comedy-drama My Fair Lady (1964). Phulrani is an adaptation of the play
Pygmalion by George Bernard Shaw.
PHOOLRANI MARATHI MOVIE
It is based on George Bernard Shaw's stage play, Pygmalion. Vikram (Subodh Bhave) runs a model grooming academy and has been instrumental in transforming ordinary girls into successful models. He accepts a challenge of transforming a florist girl, Shevanta (Priyadarshini Indalkar), into a hotshot model.
Overview of Pygmalion
Introduction to the Play “Pygmalion” is a play written by Irish playwright George Bernard Shaw, first premiered in 1913. The play explores themes of class, identity, and social mobility within the context of early 20th-century London. It critiques the rigid English class system and examines how language and accent can influence one’s social standing.
The pivotal moments occur during two trials: the first at Higgins’ mother’s home where Eliza impresses some members of high society, and the second at the ambassador’s party where she successfully passes as a lady. However, after winning the bet, Higgins treats Eliza as merely an experiment rather than acknowledging her humanity. This leads to conflict between them as Eliza grapples with her new identity—caught between her past as a flower girl and her present as someone who has been trained to fit into high society.
Themes The play delves into various themes:
- Class Distinctions: Shaw critiques the superficial nature of
social class distinctions based on language and accent.
- Identity: Eliza’s
transformation raises questions about personal identity and self-worth
beyond societal labels.
- Gender Roles: The dynamics between Higgins and Eliza reflect broader issues
regarding women’s roles in society during that era.
Murder in the Cathedral
· 2.4, - ALL IMPORTANT FOR EXAM
Introduction “Murder in the Cathedral” is a verse drama written by T. S. Eliot, first performed in 1935 and published the same year. The play dramatizes the assassination of Archbishop Thomas Becket in Canterbury Cathedral during the reign of King Henry II in 1170. It explores themes of martyrdom, power, and the conflict between church and state.
The First Tempter offers physical safety and urges him to avoid confrontation.
The Second Tempter entices him with power and influence under the king’s rule.
The Third Tempter suggests aligning with the barons against the king for greater autonomy.
The Fourth Tempter, representing the allure of martyrdom, encourages him to seek glory through sacrifice.
Interlude An interlude occurs on Christmas morning where Becket delivers a sermon reflecting on the duality of joy and sorrow inherent in Christmas celebrations, foreshadowing his own fate as a potential martyr.
At the end of the play, the knights attempt to justify their actions before the audience in prose that contrasts sharply with the poetic dialogue throughout most of the play.
Themes Key themes include:
- Martyrdom: The
struggle between personal sacrifice for faith versus political survival.
- Conflict Between Church and State: The tension between ecclesiastical authority
represented by Becket and royal power embodied by Henry II.
- Temptation: The
moral dilemmas faced by individuals when confronted with power or safety
at odds with their principles.
Significance “Murder in the Cathedral” is significant not only as a historical retelling but also as a profound exploration of ethical dilemmas faced by individuals in positions of power regarding their beliefs and responsibilities.
