sem-2 Paper-6 assignment

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Name: Joshi Riddhi

Topic: salient Feature of The Victorian Literature

Roll no: 30

Paper no 6: Victorian Literature

M.A: Sem-2

Enrolment no. : 2069108420180028

Year: 2017-19

E-mail: Www.riddhij8@gmail.com

Submitted to:

S.B. Gardi Department of English

Maharaja Krishnakumarsinhji

Bhavnagar University

Introduction- The Victorian age is believed to be from 1850-1900 when Victoria became Queen in 1837, English literature seemed to have entered upon a period of lean years, in marked contrast with the poetic fruitfulness of the romantic age. Coleridge, Shelley, Keats, Byron and Scott had passed away. Keats and Shelley were dead but already there had appeared three disciples of those poets who were destined to be far more widely read than were their masters. Tennyson had been publishing poetry since 1827, his first poems appearing in almost simultaneously with the last works of Byron, Shelley and Keats; but it was not until 1842, with the publication of his collected poems, two volumes, that England recognized in him one of her great literary leaders. Elizabeth Barrett Browning had been writing since 1820. Browning had published his Pauline in 1833. But in 1846, when Bells and Pomegranates were published, people began reading his works and started appreciating him. A group of pose writers had emerged in like Dickens, Thackeray, Carlyle and Ruskin. In this age, the long struggle of the Anglo- Saxons for personal liberty was settled and democracy was established. The house of Commons becomes the ruling power in England; and a series of new reform bills rapidly extend the suffrage, until the whole body of English people choose for themselves the men who shall represent them. Because it is an age of democracy, it is an age of popular education, of religious tolerance, of growing brotherhood and of profound social unrest. The slaves had been freed in 1833; but in the middle of the century, England awoke to the fact that slaves are not necessarily Negroes, stolen in Africa to be sold like cattle in the market place, but that multitudes of men, women and little children in the mines and factories were victims of a more terrible industrial slavery. Because it is an age of democracy and education, it is an age of democracy, comparative peace. England begins to think less of the pomp and false glitter of fighting, and more of its moral units, as the nation realises that it is the common people who bear the burden and the sorrow and the poverty of war, while the privileged classes reap most of the financial and political rewards. With the growth of trade and of friendly foreign relations, it becomes evident that the social equality for which England was contending at home belongs to the whole race of men; that brotherhood is universal, not insular; that a question of justice is never settled by fighting; and that war is generally unmitigated horror and barbarism. The Victorian age is especially marked because of its rapid progress.

1. Democracy : Amid the multitude of social and political forces of this great age, four things stem out clearly. First the long struggle of the Anglo-Saxons for personal liberty is definitely settled and democracy becomes the established order of the day. The king who appeared in an age of popular weakness and ignorance, and the peers who came with the Normans in triumph are both stripped of their power and left as figure-heads of a past civilization. The last vestige of personal government and the divine right of rulers disappears; the house of commons becomes the ruling power in England; and a series of new reforms bills rapidly extend the people choose for themselves the men who shall represent them.

2. Social Unrest : Second because it is an age of democracy, it is an age of popular education, of religious tolerance, of growing brotherhood, and of profound social unrest. The slaves had been freed in 1833 but in the middle of the century England a work to the fact that slaves are not necessarily negroes, stolen in Africa to be sold like cattle in the market place, but that multitudes of men, women, and little children in the mines and factories were victims of a more terrible industrial and social slavery. To free this competitive method, has been the growing purpose of the Victorian age until the present day.

3. The ideal of Peace : Third, because it is an age of democracy and education, it is an age of comparative peace. England begins to think less of the pomp and false glitter of fighting and more of its moral evils, as the nation realizes that it is the common people who bear the burden and the sorrow and the poverty of war, while the privilege classes reap most of the financial and political rewards. Moreover, with the growth of trade and of friendly foreign relations, it becomes evident that the social equality for which England was contending at home belongs to the whole race of men that brother hood is universal, not insular that a question of justice is never settled by fighting and that war is generally unmitigated horror and bar barusm. Tennyson, who came of age when the great reform bill occupied attention, expresses the ideas of the liberals of his day who proposed to spread the gospel of peace. Till the war drum throbbed no longer and the battle flags were furled in the parliament of man the federation of the world.

4. Arts and sciences : Fourth, the Victorian age is especially remarkable because of its rapid progress in all the arts and sciences and in mechanical inventions. A glance at any record of the industrial achievements of the nineteenth century will show how vast the are and it is unnecessary to repeat here the list of the inventions, from spinning looms to steamboats, and from matches to electric lights. All these material things, as well as the growth of education have their influence upon the life of a people and it is inevitable that they should react upon its prose and poetry thought as yet we are too much absorbed in our sciences and machines to determine accurately their influence upon literature. When these new things shall by long use have become familiar as country roads or have been replaced by newer and better things, then they also will have their associations and memories and a poem on the rail roads may be as suggestive as words worth’s sonnet on Westminster bridge and the busy, practical working men who today throng our stress and factories may seem to a future and greater age as quaint and poetical as to us seem the slow toilers of the middle ages.

5. An era of peace : The few colonial wars that broke out during the Victorian approach did not seriously disturb the national life. There was one continental war that directly affected Britain the Crimean war and one that affected her indirectly though strongly the Franco german struggle yet neither of these caused any profound changes. In America the great civil struggle left scars that were soon to be obliterated by the wise statesmanship of her rulers. The whole age may be not unfairly described as one of peaceful activity. In the earlier stages the lessening surges of the French revolution were still felt but by the middle of the century they had almost completely died down, and other hopes and ideals largely specific were gradually taking their place.

6. Material Developments : It was an age alive with new activity. There was a revolution in commercial enterprise, due to the great increase of available markets and as a result of this an immense advance in the use of mechanical devices. The new commercial energy was reflected in the great exhibition of 1851. Which was greeted as the inauguration of a new era of prosperity on the other side of this picture of commercial expansion we see the appalling social conditions of the new industrial cities, the squalid slums and the exploitation of cheap labor (often of children), the painful flight by the enlightened few to introduce social legislation and the slow extension of the franchise. The evils of the industrial revolution were vividly painted by such writers as dickens and Mrs. Gaskell and they called forth the missionary efforts of men like Kingsley.

7. Intellectual developments : There can be little doubt that in many cases material wealth produced a hardness of temper and an impatience of projects and ideas that brought no return in hard case yet it is to the credit of this age that intellectual activities were so numerous. There was quite a revolution in scientific thought following upon the works of Darwin and his school, and an immense outburst of social and political throrizing which was represented in this country by the writings of men like Herbert Spencer and john Stuart mill. In addition, popular education became a practical thing. This in its turn produced a new hunger for intellectual food and resulted in a great increase in the production of the press and of other more durable species of literature.

Literary features of the age:

The sixty years commonly included under the name of the Victorian age present many dissimilar features. Yet in several respects we can safely generalize.

1. Its morality : Nearly all observers of the Victorian age are struck by its extreme deference to the conventions. To a later age these seem ludicrous. It was thought indecorous for a man to smoke in public and for a lady to ride a bicycle. To a great extent the new morality was a natural revolt against the grossness of the earlier regency, and the influence of the Victorian court was all in its favor. In literature it is amply reflected. Tennyson is the most conspicuous co placement sir Galahad and King Arthur, dickens, perhaps the most representative of the Victorian novelists took for his model the old picaresque novel. But it is almost laughable to observe his anxiety to be ‘moral’. This type of writing is quite blameless but it produced the king of public that denounced the innocuous jane eyre as wicked because it dealt with the harmless affection of a girl for a married man.


2. The Revolt : Many writers protest against the deadening effect of the conventions. Carlyle and Matthew Arnold in their different accents were loud in their denunciations thackerary never tired of satirizing the snobbishness of the age and bowing’s cobbly mannerisms were an indirect challenge to the velvety diction and the smooth self  satisfaction of the Tennysonian School. As the age proceeded the reaction
strengthened. In poetry the Pre-Raphaelites, by Swinburne and William Morris proclaimed no morality but that of the crtist’s regard for his art. By the vigour of his method Swinburne horrified the timorous and made himself rather ridiculous in the eyes of sensible people. It remained for Thomas hardy to pull a side. The Victorian veils and shutters and with the large tolerances of the master to regards men’s actions
with open gaze.

2. Intellectual developments : The literary product was inevitably affected by the new ideas in science, religion and politics. On the origin of species (1859) of Darwin shook to its foundation scientific thought. We can perceive the influence of such a work in Tennyson’s. in memoriam in Matthew Arnold’s meditative poetry and in the works of Carlyle. In religious and ethical thought the Oxford movement as it was called was the most note warthy advance. This movement had its source among the young and eager thinkers of the old university and was headed by the great Newman who ultimately (1854) joined the church of Rome, as a religious portent it marked the widespread discontent with the existing belief of the church of England as a literary influence it affected many writers of note, including Newman himself, roude, Maurice kingsley and glad stone.

3. The new education : The new education acts, making a cetian measure of education compulsory, rapidly produced and enormous reading public. The cheapening of printing and paper increased the demand for books so that the production was multiplied. The most popular form of literature was the novel and the novelists responded with a will. Much of their work was of a high standard so much so that it has been asserted by competent critics that the middle years of the nineteenth century were the richest in the whole history of the novel.

4. International influences : During the nineteenth century the interaction among American and European writers was remarkably fresh and strong. In Britain the influences of the great german writers was continuous and it was championed by Carlyle and Mathew Arnold. Subject nations in particular the Italians, were a sympathetic theme for prose and verse. The browning Swinburne, morris and Meredith were deeply absorbed in the long struggle of the followers of garibaldi and Cavour and when Italian freedom was gained the rejoicings were genuine.

5. The achievement of the age : With all its immense production, the age produced no supreme writer. It revealed no Shakespeare no Shelley nor a Byron or a Scott. The general literary level was however very high and it was an age moreover of spacious intellectual horizons, noble endeavor and bright aspirations.

Poets

1)            Arthur Hugh Clough (01 Jan 1819-13 Nov 1861) was an English poet, an educationist and the devoted assistant to ground breaking nurse Florence Nightingale. Matthew Arnold, four years his junior, arrived the term after Clough had graduated. Clough and Arnold enjoyed an intense friendship in Oxford. Ambarvalia  (1849) published jointly with his friend Thomas Burbidge, contains shorter poems of various dates from circa 1840 onwards. A few lyric and elegiac pieces, later in date than the Ambarvalia, complete Clough’s poetic output. His long poems have a certain narrative and psychological penetration and some of his lyrics have strength of melody to match their depth of thought. He has been regarded as one of the most forward-looking English poets of the nineteenth century. He often went against the popular religious and social ideals of his day, and his verse is said to have the melancholy and the perplexity of an age of transition, although Through a Glass Darkly suggests that he did not lack certain religious beliefs of his own. His work is interesting to students of meter, owing to the experiments which he made in the Bothic, and elsewhere, with English hexameters. Clough is best known for his short poems Say Not the Struggle Naught Avaleith , a rousing call to tired soldiers to keep up the good fight, Through a Glass Darkly , an exploration of religious doubt, and The Latest Decalogue , a satirical take on the Ten Commandants.

2)   Robert Browning (07 May 1812-12 December 1889) was an English poet and playwright whose mastery of dramatic verse, especially dramatic monologues, made him one of the foremost Victorian poets. It was an obscure early poemPauline  that brought him to the attention of Dante Gabriel Rossetti, followed by Paracelsus praised by William Wordsworth and Dickens. By the time of his wife’s death (Elizabeth Barrett Browning) in 1861, his stock was beginning to rise, with a major collection men and Women , followed by the long- blank verse poem The ring and and the book. He is better known today for his shorter poems such as The Pied Piper of Hamelin and How They Brought the Good News from Ghent to Aix. By Twelve, Browning had written a book of poetry which he later destroyed when no publisher could be found. He was a great admirer of the Romantic poets, especially Shelley. In March 1833, pauline , a fragment of a confession was published anonymously by Saunders and Otley at the expense of the author. It is a long poem composed in homage to Shelley and somewhat in his style. In 1834, began writing Paracelsus , which was published in 1835. The subject of The sixteenth Century Savant and Alchemist  was probably suggested to him by the Lomte Amedee de Ripart Mondar, to whom it was dedicated. It is a mono drama without action, dealing with the problems confronting an intellectual trying to find his role in society. In 1838, he visited Italy, looking for background for Sordello , a long poem in heroic couplets, presented as the imaginary biography of the Mantuan bard spoken of by Dante in the Divine comedy. Canto 6 of Purgatory . This was published in 1840 and met with widespread division, gaining him the reputation of Wanton carelessness and obscurity. The Ring and the Book was the poet’s most ambitious project and arguably his greatest work; it has been praised as a Tour de Force of dramatic poetry, published separately in four volumes from November 1868 throughout February 1869, the poem was a success both commercially and critically and finally brought Browning the renown he had sought for nearly forty years.

3)   Elizabeth Barrett Browning (06 March 1806-29 June 1861) was one of the most prominent English poets of the Victorian era. Her poetry was widely popular in both Britain and the United States during her lifetime. Her first adult collection, The Seraphin and Other Poems was published in 1838. She wrote prolifically between 1841-1844 producing poetry. Elizabeth’s volume Poems  (1844) brought her great success. During this time, she met and corresponded with the writer Robert Browning, who admired her work. She is remembered for poems like How Do I Love Thee (Sonnet 43, 1845)  and Aurora Leigh(1856) . She wrote her own Homeric Epic The Battele of marathon: A Poem. . Her first collection of poems, An Essay on Mind, with other poems, was published in 1826 and reflected her passion for Byron and Greek politics.

4)   Matthew Arnold (24 December 1822-15 April 1888) was an English poet and cultural critic who worked as an inspector of schools. Arnold published his second volume of poems in 1852, Empedocles on Etna, and other poems. In 1853, he published poems: A New Edition , a selection from two earlier volumes famously excluding Empedocles on Etna, but adding new poems, Sohrab and Rutum  and The Scholar Gipsy . In 1854, Poems: Second Series appeared; also a selection, it is included the new poem, Balder Dead. Arnold is sometimes called the Third great Victorian poet, along with Alfred Lord Tennyson and Robert Browning. Arnold was keenly aware of his place in poetry. In 1869, he wrote a letter to his mother:

“My poems represent, on the whole, the main movement of mind of the last quarter of a century, and thus they will probably have their day as people become conscious to themselves of what that movement of mind is, and interested in the literary productions which reflect it. It might be fairly urged that I have less poetical sentiment than Tennyson and less intellectual vigour and abundance than Browning; yet because I have perhaps more of a fusion of the two than either of them, and have more regularly applied that fusion to the main line of modern development, I am likely enough to have my turn as they have had theirs”.

Harold Bloom echoes Arnold’s self-characterization in his introduction to the Modern Critical Views volume on Arnold:

“Arnold got into his poetry what Tennyson and Browning scarcely needed, the main march of mind of his time”.

Of his poetry, Bloom says:

“Whatever his achievement as a critic of Literature, society or religion, his work as a poet may not merit the reputation it has continued to hold in the twentieth century. Arnold is at his best, a very good but highly derivative poet… As with Tennyson, Hopkins and Rossetti, Arnold’s dominant precursor was Keats, but this is an unhappy puzzle, since Arnold (unlike the others) professed not to admire Keats greatly, while writing his own elegiac poem in a diction, meter, imagistic procedure, that are embarrassingly close to Keats”.

In 1867, Dover Beach depicted a nightmarish world from which the old religious verities have receded. In his poetry, he derived not only the subject matter of his narrative poems from various traditional or literary sources but even much of the romantic melancholy of his earlier poems Senancour’s Obermann.

5)   Dante Gabriel Rossetti (12 May 1828- 09 April 1882) was an English poet, illustrator, painter and translator. He founded the Pre-Raphaelite brotherhood in 1848, with William Holman Hunt and john Everett Millais, and was later to be the main inspiration for a second generation of artists an writers influenced by the movement, most notably William Morris and Edward Burne- Jones. His early poetry was influenced by John Keats. His later poetry was characterized by the complex interlinking of thought and feeling, especially in his sonnet sequence The House of Life. He frequently wrote sonnets to accompany his pictures, spanning from The Girlhood of mary Virgin (1849)  and Astarte Syriaca (1877), while also creating art to illustrate poems such as Gobline Market  by the celebrated poet Christina Rossetti, his sister. He worked on English translations of Italian poetry including Dante Alighieri’s La Vita Naova.

6)   William Morris (24 March 1834- 03 October 1896) was an English textile designer, poet, novelist, translator and social activist. He achieved success with the publication of his epic poems and novels namely The Earthly paradise (1868-70) . His first poems were published when he was 24 years old. His first volume,The Defence of Guenevere and other poems (1858)  was the first book of Pre- Raphaelite poetry to be published. The Haystack in the Floods, one of the poems in those collections is probably now one of his better known poems. One early minor poem was Masters in his Hall 91860) , a Christmas Carol written to an old French tune. Another Christmas theme poem is The Snoe in the Street adapted from the Land East of the sun and West of the Moon in The Earthly Paradise.

7)   Algernon Charles Swinburne was one of the most accomplished lyric poets of this age and was a prominent symbol of rebellion against the conservative values of his time. Later works are By the North Sea, Evening on the Broads, A Nympholept, The Lake of Gaube, and Neap Tide.. Other works are Poems and Ballads, Moxon (1866), Songs before Sunrise, Song of Two Nations.

Works Cited

https://www.enotes.com/homework-help/what-salient-features-victorian-age-english-126463

Sem-2 Paper 5 Assignment

To evaluate my assignment click here

Name: Joshi Riddhi

Topic: Theme in Sense And Sensibility

Roll no: 30

Paper no 5: Romantic Literature

M.A: Sem-2

Enrolment no. : 2069108420180028

Year: 2017-19

E-mail: Www.riddhij8@gmail.com

Submitted to:

S.B. Gardi Department of English

Maharaja Krishnakumarsinhji

Bhavnagar University

Summary of Sense and Sensibility:                                                                                                                                                                        

In the wake of their father's death, the Dashwood sisters, Elinor, Marianne, and Margaret, are left at the financial mercy of John, half-brother, and his greedy wife. Though their father asked John to take care of the girls and their distraught mother, the women end up getting seriously shafted – they're turned out of their family home, and basically left with a barely-respectable income to live on. 
Left to their own devices, the ladies decide to move away to a cottage owned by a distant cousin in Barton Park, Devonshire. Before they move house, though, Elinor (the more practical sister) tentatively allows herself to fall in love with Edward Ferrars, the gentle brother of the girls' obnoxious sister-in-law. However, both of these young people are on the, shall we say, cautious side of the emotional spectrum, and the romance doesn't go anywhere. The Dashwood girls move away to their new home, leaving Edward behind.
In Devonshire, they find themselves in the company of the aforementioned cousin, Sir John Middleton, and his rather oddball family, comprised of a dully proper wife and a hilariously raucous mother-in-law, Mrs. Jennings. Also present is Sir John's good friend, Colonel Brandon, a thirty-something, somewhat stodgy, but good-hearted bachelor, who falls for young Marianne's girlish charms. The Dashwoods try make themselves at home in the cottage, but can't help but miss their childhood home. Marianne (the less-than-practical sister) is particularly blue – that is, until she develops a love interest of her own, a dashing young man named Willoughby. Everyone gets along with the new guy just swimmingly, and the whole family expects that Marianne and Willoughby will announce their engagement any day. Marianne is sure that she's found her soul mate.
Things start to go wrong fairly soon, though. Willoughby leaves rather suddenly for London, for reasons we're not entirely certain of, and doesn't give any indication of when he'll be back. Marianne takes this very hard, as she does everything. The plot continues to thicken with the arrival of an unexpected visitor – Edward Ferrars. He stays with his friends for a week, and all the while, everyone has a great time, even morose Marianne. However, Edward's departure heralds the arrival of another set of visitors, Mrs. Palmer, Lady Middleton's hyperactive sister, and her dour husband, Mr. Palmer. The Palmers just happen to live in the general vicinity of Willoughby's country home, and Marianne is eager for news of him – but there isn't any.
After the Palmers' departure, yet another wave of newcomers washes in… and this time, they're unwelcome ones. Mrs. Jennings invites some unknown relations of hers, Miss Steele and her younger sister, Lucy, to come and stay at Barton Park. To cut a long story short, Lucy Steele admits to Elinor that she's secretly engaged – to Edward Ferrars! Elinor is shocked and upset, and her hopes for the future all crumble before her eyes.
Both Dashwood sisters are now down in the dumps with regards to romance. At this low point, Mrs. Jennings asks Elinor and Marianne to accompany her to London for an extended trip, and after some squabbling, the girls accept. They embark upon their journey with mixed feelings – Marianne hoping to see Willoughby, and Elinor afraid that she'll run into Edward. Both of these things come to pass, but not in ways that the girls expect.
Willoughby avoids Marianne like the plague, despite many, many letters from her. When they finally meet at a ball (by accident), he evades her once again. Soon thereafter, Marianne receives a rather cold letter of dumpage from Willoughby, and she falls ill with the shock. Colonel Brandon, still carrying a torch for Marianne, is concerned, but also relieved – he finally tells Elinor the horrible truth about Willoughby, which he'd been concealing all along, thinking that Willoughby and Marianne were engaged. It turns out that Willoughby is a real cad; he got Colonel Brandon's adopted daughter pregnant, dumped her, and now is engaged to a super-wealthy socialite instead of Marianne.
Meanwhile, Elinor is forced to endure the company of her unwitting enemy, Lucy Steele, who's also in town. It seems that everyone is around – even the Dashwoods' brother, John, and sister-in-law Fanny (sister of Edward). To make matters even worse, Elinor finds out that Fanny and Edward's mother has decided that Edward must marry an heiress, a certain Miss Morton. It seems like nothing is going right for poor Elinor, but she tries to keep her emotions in check. However, Lucy and Edward's engagement comes to light, much to the dismay of pretty much everyone involved. The Ferrars are all in a fit about it, and Edward is in serious trouble. Distraught, Elinor eventually confesses everything to Marianne – that she's in love with Edward, but she's known for months about the secret engagement. Marianne instantly realizes that she's been too harsh on her sister; she used to berate Elinor for being too logical, but she sees now how much her older sis has been suffering.
It emerges that Edward has been cut out of the family fortune for his disobedient conduct, and that all of the money that was supposed to come his way has been given to his obnoxious younger brother, Robert. The sympathetic Colonel Brandon helps out by offering the young man a job as the curate at his estate, Delaford. It seems as though things have worked out for Edward and Lucy (though not ideally). 
Disgruntled, the Dashwoods and Mrs. Jenkins leave town, and head out to the Palmers' country house, Cleveland. The party hangs out there for a while, but Marianne can't help but be upset by their proximity to Willoughby's ancestral home, Combe Magna. She catches a cold wandering around outside, and quickly becomes dangerously ill.
Everyone's in crisis mode because of Marianne's frightening illness – apparently, even Willoughby. He shows up, disheveled and distraught, having heard that Marianne is at death's door. He opens his heart to Elinor, explaining that the only reason he married someone else was because of money – basically, he screwed up a lot of things (namely, his relationship with Colonel Brandon's adopted daughter), and his mistakes ended up preventing him from marrying Marianne, his true love. He leaves, after being reassured that Marianne's on the mend. Elinor finally forgives him (kind of) for his dastardly deeds, and knows that this story will make Marianne feel better. Elinor and Marianne's mother arrives shortly thereafter, with dramatic news of her own: Colonel Brandon has confessed that he's in love with Marianne, and Mrs. Dashwood already regards their engagement as a foregone conclusion.
Marianne slowly gets better in the company of her mother, sister, and friends, and finally, the little family heads back home to Barton, where Elinor tells Marianne and her mother about Willoughby's true feelings. Everyone feels something akin to resolution, at long last. Elinor, however, is unsettled anew by a report that "Mr. Ferrars" is married to Lucy Steele. Happily, though, there turns out to be a miscommunication; the Mr. Ferrars in question is Robert, the younger brother, not Edward. Elinor receives this good news from Edward himself, who comes to finally ask her to marry him (yay!). In the end, that little minx, Lucy, managed to ingratiate herself with the new heir to the Ferrars fortune, and broke off her engagement with the no-longer-wealthy Edward. 
In the end, everything works out – Lucy gets her rich husband, and Elinor gets the man she loves. Finally, Marianne finds her own happiness, too – she learns to love Colonel Brandon back, and the pair is married. After all the drama, both Elinor and Marianne end up with their happy endings.

Themes:

Women and Feminity:                                                                                                                                                                                                                                                                                  

Rumor has it that girls are made of sugar and spice and everything nice, but we think that Jane Austen might disagree. Her very real, at times rather harsh depiction of the women of Sense and Sensibility exposes the undeniable fact that there's more to her proper young ladies than meets the eye – underneath their dainty exteriors, we see dangerous passion, frustration, and even a bit of malice in one case in particular. Austen's portrayal of women is challenging and incredibly real, and she sums up both the delights and difficulties of femininity through the array of characters revealed in this text.

Quotes:

They were of course very anxious to see a person on whom so much of their comfort at Barton must depend; and the elegance of her appearance was favourable to their wishes. Lady Middleton was not more than six or seven and twenty; her face was handsome, her figure tall and striking, and her address graceful. Her manners had all the elegance which her husband's wanted. But they would have been improved by some share of his frankness and warmth; and her visit was long enough to detract something from their first admiration, by shewing that though perfectly well-bred, she was reserved, cold, and had nothing to say for herself beyond the most common-place inquiry or remark. (6.8)

Lady Middleton is the most proper, "elegant" figure of a society lady that we see – and she's thoroughly dull. If this is being a lady is all about, we're not interested… and neither is Austen.

Society and Class:

The world of Jane Austen's Sense and Sensibility is a complicated one, in which everyone fits neatly into minute little pigeonholes in the incredibly stratified, hierarchical class system. Imagine this system as an enormous card catalog, in which every single person we encounter fits somewhere – and moving them to another place is quite a big undertaking, that involves shuffling everyone else around slightly and getting them all used to it. Her characters are all painfully, obsessively aware of their individual positions in society, and all of their relationships are marked distinctly by their varying amounts of power within the social system.

Quotes:

He was not an ill-disposed young man, unless to be rather cold hearted, and rather selfish, is to be ill-disposed: but he was, in general, well respected; for he conducted himself with propriety in the discharge of his ordinary duties. (1.7)

This description of John demonstrates how "cold hearted and rather selfish" society's requirements are – all one has to do is conduct oneself "with propriety" in everyday life in order to gain respect, regardless of one's personal qualities.

Love:

Love is a many splendoured thing, sure, but it's also a many troubled thing, if you ask Austen. In Sense and Sensibility, she shows us dramatically different facets of this crazy little thing we call love, from the euphoric to the life-threatening. While love is certainly the driving force of the various plots we see in this novel, it's not always a good thing – in fact, more often than not, there's an edge of danger or tragic potential in it. Love, asserts this book, is wonderful and beautiful and all, but there's always a chance that it'll creep up behind you and stab you in the back.

Quotes:

“It is enough," said she; "to say that he is unlike Fanny is enough. It implies everything amiable. I love him already."

"I think you will like him," said Elinor, "when you know more of him."

"Like him!" replied her mother with a smile. "I can feel no sentiment of approbation inferior to love."

"You may esteem him."

"I have never yet known what it was to separate esteem and love." (3.8)

Mrs. Dashwood's vision of love, and personal relationships in general, is much more loose and all-encompassing than Elinor's – basically, "love" and "like" are confused in her book. She's willing to "love" anyone, while Elinor has positive feelings broken down more specifically into the intellectual and emotional ("esteem" versus "love").

Home:

The loss of a cherished home is one of the first major thematic elements of Sense and Sensibility, and that sense of transition and movement persists throughout the novel. Home is identified as any number of things – a beloved place, a specific set of well-known, well-loved landmarks, a treasure trove of memories – but most of all, it's where the heart is, as they say. And that mostly means that it's where the family is; the sense of connection between the Dashwood sisters (our protagonists) is what keeps them grounded throughout this novel, even when everything seems like it's about to fly apart.

Quotes:

Mrs. Dashwood remained at Norland several months; not from any disinclination to move when the sight of every well known spot ceased to raise the violent emotion which it produced for a while; for when her spirits began to revive, and her mind became capable of some exertion than that of heightening its affliction by melancholy remembrances, she was impatient to be gone, and indefatigable in her inquiries for a suitable dwelling in the neighborhood of Norland; for to remove far from that beloved spot was impossible. (3.1)

Home here is something prickly – while it's the site of trauma and "melancholy remembrances" in the wake of Mr. Dashwood's death, it's also too much loved to completely leave.

Language and Communication:

Communication and miscommunication are both central to Sense and Sensibility – the novel is full of moments of misunderstanding as a result of what is said (or notably not said). The characters are constantly in discourse with each other, whether in person or in letters, but that doesn't mean that they're always clear with one another. Actually, sometimes it's the surplus of language that makes things unclear – Austen shows us that more words don't necessarily help explain anything. Rather than simply talking and talking, the important thing is to make sure that you're actually understanding each other – something that our characters aren't always capable of. Sound familiar? It should, because it's frequently true in real life.

Quotes:

"That is an expression, Sir John," said Marianne warmly, "which I particularly dislike. I abhor every common-place phrase by which wit is intended; and 'setting one's cap at a man,' or 'making a conquest,' are the most odious of all. Their tendency is gross and illiberal; and if their construction could ever be deemed clever, time has long ago destroyed all its ingenuity." (9.16)

Marianne expresses her dislike for perfectly normal colloquial speech, which she finds too crude entirely. While Sir John could be a bit less direct and blunt, we have to say that he does manage to communicate more clearly than some of the other characters. Perhaps some of Marianne's troubles come from her desire to phrase everything poetically.

Family:

Families can mean a lot of different things to different people. In Sense and Sensibility, Austen shows us a wide range of family relationships that demonstrate this diversity of meaning. For example, while she shows us many examples of how familial love can help bring someone through a personal crisis, she also reveals how cruel and unfeeling families can be at the same time; we've got everything from sisterly bonding to parents disowning children here. Yet, despite the gamut of different possibilities, family remains the central unit of this story – no matter how much a character's family life sucks, it's still fundamental to that character's existence.

Quotes:

"Your father thought only of them. And I must say this: that you owe no particular gratitude to him, nor attention to his wishes, for we very well know that if he could, he would have left almost everything in the world to them." (2.6)

Fanny's flagrant disregard for the wishes of John's father demonstrates a curious lack of respect for the dead – her vision of family obligation is clearly on that doesn't extend beyond this mortal coil. Her view of family is also limited to the immediate family, and therefore more self-interested than one might expect.

Marriage:

To quote The Princess Bride, marriage is what brings us together today – and every day, in Sense and Sensibility. Basically everything in this book – plot, the characters, their various motivations – all boil down to marriage. As the most important social contract of the world that Austen depicts, marriage is an all-important concern. Who's marrying whom? Why or why not? Is it a good match, or a bad one? Marriage isn't just a personal matter – it practically concerns everyone in a given social group. Why? Well, marriage isn't just an issue of love or companionship, the way we think of it now; instead, it was more akin to a political, social, and economic alliance between families. When two people decide to get married here, it's not just between the two lovers – it's between them, their parents, their siblings, and their hundred closest friends.

Quotes:

Some mothers might have encouraged the intimacy from motives of interest, for Edward Ferrars was the eldest son of a man who had died very rich; and some might have repressed it from motives of prudence, for, except a trifling sum, the whole of his fortune depended on the will of his mother. But Mrs. Dashwood was alike uninfluenced by other consideration. It was enough for her that he appeared to be amiable, that he loved her daughter, and that Elinor returned the partiality. (3.4)

We see two different views of marriage (or potential marriage) here – on one hand, the socially conventional tendency to view marriage as a purely economic exercise, while on the other, Mrs. Dashwood's completely sentimental, unscientific view of it, in which, as they say, all you need is love. Neither of these views turn out to be entirely correct within the framework of the novel.

Wealth:

Money is nice, and we all want to have it. We know it now, and Austen knew it back in the nineteenth century. For this simple reason, money is a motivating factor in a lot of the decisions that we see unfold in Sense and Sensibility. Wealth and inheritance create systems of control and power here, that profoundly influence the personal choices and options of our characters; most of the young people Austen introduces to us are financially dependent upon parents or other relations, and therefore obliged to submit to them, according to the rules of the day. Maybe it's not right, but it's just the way things work in the world of the novel – and we see them attempt to balance the pragmatic need for wealth with their emotional demands throughout the book.

Quotes:

Mrs. Smith has this morning exercised the privilege of riches upon a poor dependant cousin, by sending me on business to London. I have just received my dispatches, and taken my farewell of Allenham; and by way of exhilaration I am now come to take my farewell of you. (15.3)

Willoughby's excuse for leaving Devonshire is ironclad – after all, in this world, when money says, "Jump," the only possible response is, "How high?"

Dreams, Hopes, Plans:

Most of the dreams, hopes, and plans that we see unfold in Sense and Sensibility have to do with love, romance, and marriage. Basically, these are the only possible futures that are available to our two heroines, and they both have their own visions of how these futures should play out. The novel deals with the gaping chasm between idealistic hopes and pragmatic plans – and what happens when these two concepts clash. The results are by turns comic and tragic; through the struggles of our characters, we see what happens in the difficult process of making dreams into real plans – and then into real life.

Quotes:

[Fanny and Mrs. Ferrars] wanted to him to make a fine figure in the world in some manner or other. His mother wished to interest him in political concerns, to get him into parliament, or to see him connected with some of the great men of the day. Mrs. John Dashwood wished it likewise; but in the mean while, till one of these superior blessings could be attained, it would have quieted her ambition to see him driving a barouche. But Edward had no turn for great men or barouches. All his wishes centered in domestic comfort and the quiet of private life. (3.6)

Edward's dreams and hopes aren't terribly dramatic ones – rather, he just longs for a nice, normal, quiet life. While one might deride this for being unambitious and small-minded, one could alternately see it as a refreshing break from the pushy, social climbing ambition of his mom and sister.

Competition:

The conversations between rivals we see in Sense and Sensibility may be sugar coated, but even the faux-politeness of Austen's dialogue isn't enough to cover up the sting underneath. Competition (especially competition in love) is a major issue here, and somehow, the veiled nature of it makes it all the more brutal. Austen's characters are all in the pursuit of the same thing – successful, happy married life – and sometimes they're in pursuit of the same people, which makes things all the more difficult. The differing ways in which her various characters deal with the competitive nature of the world they live in reveal volumes about their individual personalities and beliefs.

Quotes:

“Colonel Brandon's partiality for Marianne, which had so early been discovered by his friends, now first became perceptible to Elinor, when it ceased to be noticed by them. Their attention and wit were drawn off to his more fortunate rival; and the raillery which the other had incurred before any partiality arose, was removed when his feelings began really to call for the ridicule so justly annexed to sensibility. Elinor was obliged, though unwillingly, to believe that the sentiments which Mrs. Jennings had assigned him for her own satisfaction, were now actually excited by her sister; and that however a general resemblance of disposition between the parties might forward the affection of Mr. Willoughby, an equally striking opposition of character was no hindrance to the regard of Colonel Brandon. She saw it with concern; for what could a silent man of five-and-thirty hope, when opposed by a very lively one of five-and-twenty? and as she could not even wish him successful, she heartily wished him indifferent. (10.11)

The contrast between Colonel Brandon and Willoughby is painful – it demonstrates the prejudices rampant in the society Austen wrote about, that are still going strong in our own. Despite the fact that Willoughby is hiding a dastardly past (which everyone finds out about soon enough), his outer charm and pizzazz is enough to make him more successful than good, solid, dependable Colonel Brandon.”

Works Cited

https://www.shmoop.com/sense-and-sensibility/themes.html

https://www.shmoop.com/sense-and-sensibility/quotes.html

https://www.shmoop.com/sense-and-sensibility/summary.html

Post viewing task: 'to the lighthouse'

1) How can you explain that 'what' Virginia Woolf wanted to say (for example, the complexity of human relationship, the everyday battles that people are at in their relationship with near and dear ones, the struggle of a female artist against the values of middle/upper class society etc) can only be said in the way she has said?

Ans. Stream of consciousness is very well used in this novel by Virginia Woolf. BY using this technique, she explains that how our relationships are so complicated. At some extent the novel says about Virginia Woolf’s own experience in her real life. The technique is used that how we think and how we make simple and formal feelings multifarious. she said in her novel that human relations is more important, because when Mr. Ramsay  and his family go out to lighthouse that time all lighthouse member play cricket and other game and also busy in own work and interested work do.  The technique of stream of consciousness especially with description of consciousness. So it is all characters can be vividly seen by reader were then author has no need to describe anything. 

2) Do you agree: "The novel is both the tribute and critique of Mrs. Ramsay"? (Key: Take some clues from the painting of Mrs Ramsay drawn by Lily Briscoe and the article by Andre Viola and Glenn Pedersen. Can we read Mrs. R in context of the idea of Ideal Indian Woman - Karyeshu dasi, Karaneshu manthri; Bhojeshu mata, Shayaneshu rambha; Kshamayeshu dharithri, Roopeshu lakshmi; Satkarma yukta, Kuladharma pathni. )

Ans. The technique of stream of consciousness especially with description of consciousness. So it is all characters can be vividly seen by reader were then author has no need to describe anything.  Mrs.Ramsay does all things for family members; she lives for others’ she does so many sacrifices for the sake of others and so many things which is already decided by patriarchal society. Mrs.Ramsay is alive in mind of others because of her services and compassion to each. She has something to give all characters. Mrs.Ramsay is also known as ' Angle of the House'.  And Lilly Briscoe is totally opposite from the Mrs.Ramsay.  Lilly tries to break wrong idea that “the women can’t paint can’t write”. She does that and prove women’s identity as intellectuals as men. I think Virginia Woolf is more interested to   Lilly Briscoe's character rather than Mrs. Ramsay. Both are remarkable characters in novel because Mrs. Ramsay is alive because of her Womanhood only and Lilly Briscoe for her art.

3) Considering symbolically, does the Lighthouse stand for Mrs. Ramsay or the narrator (Virginia Woolf herself who is categorically represented by Lily)?

Ans.  Yes, I agree for Mrs., Ramsay's character .In Mrs. Ramsay is both thing are there Critique and tribute. Because she has tribute for her family is first like and care and some are they. Lighthouse stands for Mrs Ramsay because she is harbor for her family member and very much spiritual guidance. She takes care of her family members and her husband. She manages ego of her husband and if we talk about considering symbolically through presentation we can say that symbol of Mrs.Ramsay as we read in the novel she always indicates as an emotional guide for other characters. So we say that she is a central character in the novel. One thing that here we cannot forget that between husband and wife writer creates some distance between them and also their children. Here we can take one example of Mr.Ramsay and his son James. If we talk about writer and her biographical context, we can say that writer’s character is more presented in Lily Briscoe’s characters.

4) In the article by Joseph Blotner, two myths are patterned together. Name the myths? How they are zeroed down to the symbols of 'Window' and 'Lighthouse'? How does the male phallic symbol represent feminine Mrs. Ramsay? (Key: The strokes of light-beams. . . )

Ans. There were two myths Oedipus myth and Pagan myth. As window works as bring new air in our house. We can interpret it as window brings freshness in our mind. Lighthouse shows the way to the people and it helps to take the right decision. So as compare to society it stands positive thing. 'To The Lighthouse' is based on Greek myth. In this novel  Virginia Woolf use various myth. Joseph blotner has also use the famous myth like the pagan myth or Oedipus myth. The myth of kronos and Rhea is relation between father and mother. Kronos has eating children. But they are so innocent. Here, Rhea is represented as a mother.  The myth of Homeric Hymns it is the praise of divinity or God. In this reference we find that how metaphor became reality. Use in the Homeric Hymns metaphor is  more important, literature is full of metaphor.

5) What do you understand by the German term 'Künstlerroman'? How can you justify that 'To The Lighthouse' is 'Künstlerroman' novel? 

Ans.'Kunstlerroman' novel means novel about the growth of an artist. In the novel we can find that Lily's character makes it 'kunstlerroman', in the end of the novel, when Lily finished her painting it describes the growth of her mind.

6) "... the wages of obedience is death, and the daughter that reproduces mothering to perfection, including child-bearing, already has on her cheeks the pallor of death. One reminded here of various texts by Lucy Irigaray, in which she attacks mothers for being, however unwillingly, accomplices in the patriarchal system of oppression." (Viola). In light of this remark, explain briefly Lily's dilemma in 'To The Lighthouse'. 

Ans.Lily rejects the patriarchal beliefs and criticized whom, who believed in who sacrifice to patriarchal world.

7) You have compared the 'beginning' and the 'ending' of the novel and the film adaptation of the novel directed by Colin Gregg (you can see it again in the embedded video below this). Do you think that the novel is more poignant than the movie? If yes, do you ascribe the fact that the power of words is much greater than that of the screen / visuals?

Ans.Novel starts with dialogue of James and Mrs. Ramsay, and it ends with Lily's completed painting. "Yes, she thought, laying down her brush in extreme fatigue, I have had my vision." It is said that in the novel and it described visual effects of sound and light, which gives more charm.

8) How do you interpret the last line of the novel (It was done; it was finished.

Ans. Yes, she thought, laying down her brush in extreme fatigue, I have had my vision.) with reference to the ending of the film (After the final stroke on the canvass with finishing touch, Lily walks inside the house. As she goes ante-chamber, the light and dark shade makes his face play hide-and-seek. She climbs stairs, puts her brush aside, walks through the dark and light to enter her room. Gently closes the door - speaks: "Closed doors, open windows" - lies on the bed and with some sort of satisfaction utters: "Dearest Briscoe, you are a fool".) 

Ans.We can interpret that Lily have her vision, it also symbolises Virginia's vision that she wanted to prove her self and she wanted to say that she can write and paint, she described it through the character of Lily Brisco."Closed doors, open window", the last of the film is also significant.

9) What does the catalogue named as 'Army and Navy' signify? What does cutting of 'Refrigerator'  signify?

Ans.Refrigerator symbolised as preserving something and it suggests the character of Mrs. Ramsay, who is preserver of culture. It presents the technology and human thoughts. Her approach to her son and to daughter is different, and it suggestion to James from Mrs. Ramsay to cut refrigerator from the catalogue of army and navy.

10) Why did Virginia give such prominence to the tale of the “Fisherman’s Wife”? In particular, why did she weave such a misogynist tale into the fabric of a book which so eloquently challenges received patriarchal notions about the roles and capabilities of women? 

Ans.Virginia creates a satire through the tale of 'Fisherman and his wife'. It is German fairytale, the Grim brothers collected this story. It is a misogynistic kind of a story, and tells that never listen of women. The story represents the female as a weak and too much demanding. Here it's kind of satire on Mrs. Ramsay, who shaped her child with such kind of ideas.

11) How is India represented in 'To The Lighthouse'?

Ans.Augustus Carmichael refers India as a land of desire and Mrs. Ramsay presented as purely Indian woman who constantly pampers male ego.

Post viewing task: The birthday party

1) Why are two scenes of Lulu omitted from the movie?

My point of view shows the reality of modern society.Lulu character is always inspiration of men .first we see that lulu talk to Stanley and she inspiration them.but that time Stanley ignore to lulu, may be lulu has become a prodtitude. And Lulu’s scene might
be omitted the reason that society may not accept those scene. And showing also such vulgar in movie in movie may creates problem. we find some meaningless activity in movie. And we find some effective and famous scene s in the interrogation scene also in several reason.
 

·      2)   Is movie successful in giving us the effect of menace? Where you able to feel it while reading the text?

It has been said that movie always provides better understanding rather than reading .The same result with the play ‘’Birthday Party’’.In reading you may not feel the same kind of fear and menace,the fear of unknown danger ,but while watching movie remain there and as well as in the mind of audience.The menace evolves from actual violence in the play or from an underlying sense of violence throughout the play.This feeling of ‘’Menace’’establishes a strong connection between character’s predicament and audience’s personal anxieties.

·     3)    Do you feel the effect of lurking danger while viewing the movie? Where you able to feel the same while reading the text.
I feel the lurking danger while viewing  the movie. I feel that something will happen. when suddenly knocking happen ,feel the effect of lurking danger,but not in the text. In that newspaper it is symbolically to hide the reality.

4) What do you read in 'newspaper' in the movie? Petey is reading newspaper to Meg, it torn into pieces by McCain, pieces are hidden by Petey in last scene.

The Newspaper symbolize hidden the reality. There are use the character and question. McCann awakening at early compared to Stanley. Stanley having power and overpowering on both of them “get Out from Here”. McCann very much disturbed looking at Stanley. 

5) Camera is positioned over the head of McCain when he is playing Blind Man's Buff and is positioned at the top with a view of room like a cage (trap) when Stanley is playing it. What interpretations can you give to these positioning of camera? 

McCain is representation of the power politics. When he is playing the game Blind man’s bluff through which he tries to drives people in the way. He tries to teach people that if someone tries to break the rules and boundaries like Stanley, in this condition society treated them. He destroyed vision of Stanley.

6) "Pinter restored theater to its basic elements: an enclosed space and unpredictable dialogue, where people are at the mercy of one another and pretense crumbles."  Does this happen in the movie?

Yes, it happens during McCann and Net Goldberg asking question which is meaningless and unpredictable. The room of birth day party and kitchen cover with so many objects. Even character don’t get enough space to move.

·    7)     How does viewing movie help in better understanding of the play ‘The Birthday Party’ with its typical characteristics (like painteresque, pause, silence, menace, lurking danger)?

when we are reading we just go on reading the constant dialogues but things become clearer while viewing the movie. Because while we are reading and ‘Pause’ is written then we will read it rather than taking a pause. So maybe it will not give that mush effect, but while viewing we can feel these all things.

·     8)    With which of the following observations you agree:

o   “It probably wasn't possible to make a satisfactory film of "The Birthday Party."

o    “It's impossible to imagine a better film of Pinter's play than this sensitive, disturbing version directed by William Friedkin”

 I agree that the movie shows very well: “Pinter restored theater to its basic elements: an enclosed space and unpredictable dialogue, where people are at the mercy of one another and pretense crumbles.”

·     9)    If you were director or screenplay writer, what sort of difference would you make in the making of movie?

In choice of actors is also important to find out suitable characters for playing but if i got chance as director i more focusing on camera position to highlight important parts because of camera playing very significance role.

·       10)  Who would be your choice of actors to play the role of characters?

I think the actors will be same as movie. Because the all the actors did well.

Shashi tharoor

#DR. SHASHI THAROOR:-

He is An author, politician, and former international civil servant, Shashi Tharoor straddles several worlds of experience. Currently a second-term Lok Sabha MP representing the Thiruvananthapuram constituency and Chairman of the Parliamentary Standing Committee on External Affairs, he has previously served as Minister of State for Human Resource Development and Minister of State for External Affairs in the Government of India. During his nearly three-decade long prior career at the United Nations, he served as a peacekeeper, refugee worker, and administrator at the highest levels, serving as Under-Secretary General during Kofi Annan's leadership of the organisation.

*Let's see Shashi Tharoor's view on postcolonialism...

**Once upon a time when, Britishers ruled over India for so many years. After a lots of struggle we get independence. There were thousands debates going on still now on colonial and post colonial idea.

***Shashi Tharoor  presented all his view on British Empire and India and how they do loot in India.

#Britishers came for making India poor and poor.Indians had economical damage at that time.we all knows that Britshers came for the trade but they are ruled over India. Tharoor very clearly says that British is wealthy because of India. Tharoor says there are Mughal rulers in India they also looted India but they spent only in India, while the Britshers sent all to thier country and make India poor and poor. The India which is exporter in the beginning after that they make it importer.

# In India 15 to 20% people died by starvation. He gave example of Bengal family. During the Second World war - 4 million people died because of starvation.

Britishers make money from the poor Indians by various kind of Taxes and make their own country rich, day by day ..

Thank you.....

Orientialism

Here is my responses to Identify 5 concept related Orientalism from the interview of Edwards Said.

1) Orientalism revolution utilized the study of the Middle East and helped to create and shape entire new field of study; such as post colonial theory as well influencing dialing as diverse as English, History, anthropology, political science and cultural studies.

2) Orientalism tries to answers the question of why, when we think of the Middle East for example, we have a preconceived notion of what kind of people live there, what they believe, how they act. Even though we may never have been there, or indeed even met anyone from there.

3) The central argument of Orientalism is that the way that we acquire this knowledge is not innocent or objective but the end result of a process that reflects certain interest.

4) Said's analysis of Orientalism isn't just description of its content but a sustained argument for why it looks the way it does. It's an examination of the quite concrete, historical and Institutional context that creates it.

5) The difference between different kinds of Orientalism is in effects the difference between experiences as of what is called the Orient. The difference between Britain and France on the hand and the United States on the other is that British and French had colonies in the Orient. They had a long-standing relationship and imperial role in a place like India, so that there's kind of an archive of actual experiences of being In India, of ruling in a country for several hundred years.

Thank you

Movie review of "Reluctant Fundamentalism"

The Reluctant Fundamentalists" is a political thriller drama film based on the 2007 Novel, The Reluctant Fundamentalist by Mohsin Hamid, directed Mira Nair.

        In this movie we can see contrast between two nations, one is in power position while other is not and those are America and Pakistan. The name of the main character is Changez Khan. He is having job in America and he is more intelligent than Americans working in that company and yet he has to suffer many things in that country because he is from Pakistan and from his appearance people can easily know that he is not from America. Because he is Pakistani, he has to suffer and to born in Pakistan is not his fault. We know very well that America is on power position and they white people are behaving not properly with Pakistani people, he has insulated at airport while checking. So this type of contrast we can see in this movie created with Changez Khan. There are two lives of a Pakistani we can observe, one is before 9/11 and one is after the attack of 9/11.

    So it is very useful movie about racism, business mindset and American dreams of third world. With the character of Changez we come to know the condition of an outsider in American rational world.