Followers

The way of world by William congreve's

Mirabell, a young man-about-town, apparently not a man of great wealth, has had an affair with Mrs. Fainall, the widowed daughter of Lady Wishfort. To protect her from scandal in the event of pregnancy, he has helped engineer her marriage to Mr. Fainall, a man whom he feels to be of sufficiently good reputation to constitute a respectable match, but not a man of such virtue that tricking him would be unfair. Fainall, for his part, married the young widow because he coveted her fortune to support his amour with Mrs. Marwood. In time, the liaison between Mirabell and Mrs. Fainall ended (although this is not explicitly stated), and Mirabell found himself in love with Millamant, the niece and ward of Lady Wish-fort, and the cousin of his former mistress. There are, however, financial complications. Half of Millamant's fortune was under her own control, but the other half, 6,000 pounds, was controlled by Lady Wishfort, to be turned over to Millamant if she married a suitor approved by her aunt. Unfortunately, Mirabell had earlier offended Lady Wishfort; she had misinterpreted his flattery as love. Mirabell, therefore, has contrived an elaborate scheme. He has arranged for a pretended uncle (his valet, Waitwell) to woo and win Lady Wishfort. Then Mirabell intends to reveal the actual status of the successful wooer and obtain her consent to his marriage to Millamant by rescuing her from this misalliance. Waitwell was to marry Foible, Lady Wishfort's maid, before the masquerade so that he might not decide to hold Lady Wishfort to her contract; Mirabell is too much a man of his time to trust anyone in matters of money or love. Millamant is aware of the plot, probably through Foible. When the play opens, Mirabell is impatiently waiting to hear that Waitwell is married to Foible. During Mirabell's card game with Fainall, it becomes clear that the relations between the two men are strained. There are hints at the fact that Fainall has been twice duped by Mirabell: Mrs. Fainall is Mirabell's former mistress, and Mrs. Marwood, Fainall's mistress, is in love with Mirabell. In the meantime, although Millamant quite clearly intends to have Mirabell, she enjoys teasing him in his state of uncertainty. Mirabell bids fair to succeed until, unfortunately, Mrs. Marwood overhears Mrs. Fainall and Foible discussing the scheme, as well as Mirabell and Mrs. Fainall's earlier love affair. Since Mrs. Marwood also overhears insulting comments about herself, she is vengeful and informs Fainall of the plot and the fact, which he suspected before, that his wife was once Mirabell's mistress. The two conspirators now have both motive and means for revenge. In the same afternoon, Millamant accepts Mirabell's proposal and rejects Sir Wilfull Witwoud, Lady Wishfort's candidate for her hand. Fainall now dominates the action. He unmasks Sir Rowland, the false uncle, and blackmails Lady Wishfort with the threat of her daughter's disgrace. He demands that the balance of Millamant's fortune, now forfeit, be turned over to his sole control, as well as the unspent balance of Mrs. Fainall's fortune. In addition, he wants assurance that Lady Wishfort will not marry so that Mrs. Fainall is certain to be the heir. This move of Fainall's is now countered; Millamant says that she will marry Sir Wilfull to save her own fortune. Fainall insists that he wants control of the rest of his wife's money and immediate management of Lady Wishfort's fortune. When Mirabell brings two servants to prove that Fainall and Mrs. Marwood were themselves guilty of adultery, Fainall ignores the accusation and points out that he will still create a scandal which would blacken the name of Mrs. Fainall unless he gets the money. At this point, Mirabell triumphantly reveals his most successful ploy. Before Mrs. Fainall married Fainall, she and Mirabell had suspected the man's character, and she had appointed her lover trustee of her fortune. Fainall is left with no claim to make because Mrs. Fainall does not control her own money. He and Mrs. Marwood leave in great anger. Sir Wilfull steps aside as Millamant's suitor; Lady Wishfort forgives the servants and consents to the match of Mirabell and Millamant.

Pride and prejudice. By Jane austen

kingmaker surya post

The news that a wealthy young gentleman named Charles Bingley has rented the manor of Netherfield Park causes a great stir in the nearby village of Longbourn, especially in the Bennet household. The Bennets have five unmarried daughters—from oldest to youngest, Jane, Elizabeth, Mary, Kitty, and Lydia—and Mrs. Bennet is desperate to see them all married. After Mr. Bennet pays a social visit to Mr. Bingley, the Bennets attend a ball at which Mr. Bingley is present. He is taken with Jane and spends much of the evening dancing with her. His close friend, Mr. Darcy, is less pleased with the evening and haughtily refuses to dance with Elizabeth, which makes everyone view him as arrogant and obnoxious. The news that a wealthy young gentleman named Charles Bingley has rented the manor of Netherfield Park causes a great stir in the nearby village of Longbourn, especially in the Bennet household. The Bennets have five unmarried daughters—from oldest to youngest, Jane, Elizabeth, Mary, Kitty, and Lydia—and Mrs. Bennet is desperate to see them all married. After Mr. Bennet pays a social visit to Mr. Bingley, the Bennets attend a ball at which Mr. Bingley is present. He is taken with Jane and spends much of the evening dancing with her. His close friend, Mr. Darcy, is less pleased with the evening and haughtily refuses to dance with Elizabeth, which makes everyone view him as arrogant and obnoxious. At social functions over subsequent weeks, however, Mr. Darcy finds himself increasingly attracted to Elizabeth’s charm and intelligence. Jane’s friendship with Mr. Bingley also continues to burgeon, and Jane pays a visit to the Bingley mansion. On her journey to the house she is caught in a downpour and catches ill, forcing her to stay at Netherfield for several days. In order to tend to Jane, Elizabeth hikes through muddy fields and arrives with a spattered dress, much to the disdain of the snobbish Miss Bingley, Charles Bingley’s sister. Miss Bingley’s spite only increases when she notices that Darcy, whom she is pursuing, pays quite a bit of attention to Elizabeth. When Elizabeth and Jane return home, they find Mr. Collins visiting their household. Mr. Collins is a young clergyman who stands to inherit Mr. Bennet’s property, which has been “entailed,” meaning that it can only be passed down to male heirs. Mr. Collins is a pompous fool, though he is quite enthralled by the Bennet girls. Shortly after his arrival, he makes a proposal of marriage to Elizabeth. She turns him down, wounding his pride. Meanwhile, the Bennet girls have become friendly with militia officers stationed in a nearby town. Among them is Wickham, a handsome young soldier who is friendly toward Elizabeth and tells her how Darcy cruelly cheated him out of an inheritance. At the beginning of winter, the Bingleys and Darcy leave Netherfield and return to London, much to Jane’s dismay. A further shock arrives with the news that Mr. Collins has become engaged to Charlotte Lucas, Elizabeth’s best friend and the poor daughter of a local knight. Charlotte explains to Elizabeth that she is getting older and needs the match for financial reasons. Charlotte and Mr. Collins get married and Elizabeth promises to visit them at their new home. As winter progresses, Jane visits the city to see friends (hoping also that she might see Mr. Bingley). However, Miss Bingley visits her and behaves rudely, while Mr. Bingley fails to visit her at all. The marriage prospects for the Bennet girls appear bleak. That spring, Elizabeth visits Charlotte, who now lives near the home of Mr. Collins’s patron, Lady Catherine de Bourgh, who is also Darcy’s aunt. Darcy calls on Lady Catherine and encounters Elizabeth, whose presence leads him to make a number of visits to the Collins’s home, where she is staying. One day, he makes a shocking proposal of marriage, which Elizabeth quickly refuses. She tells Darcy that she considers him arrogant and unpleasant, then scolds him for steering Bingley away from Jane and disinheriting Wickham. Darcy leaves her but shortly thereafter delivers a letter to her. In this letter, he admits that he urged Bingley to distance himself from Jane, but claims he did so only because he thought their romance was not serious. As for Wickham, he informs Elizabeth that the young officer is a liar and that the real cause of their disagreement was Wickham’s attempt to elope with his young sister, Georgiana Darcy. This letter causes Elizabeth to reevaluate her feelings about Darcy. She returns home and acts coldly toward Wickham. The militia is leaving town, which makes the younger, rather man-crazy Bennet girls distraught. Lydia manages to obtain permission from her father to spend the summer with an old colonel in Brighton, where Wickham’s regiment will be stationed. With the arrival of June, Elizabeth goes on another journey, this time with the Gardiners, who are relatives of the Bennets. The trip takes her to the North and eventually to the neighborhood of Pemberley, Darcy’s estate. She visits Pemberley, after making sure that Darcy is away, and delights in the building and grounds, while hearing from Darcy’s servants that he is a wonderful, generous master. Suddenly, Darcy arrives and behaves cordially toward her. Making no mention of his proposal, he entertains the Gardiners and invites Elizabeth to meet his sister. Shortly thereafter, however, a letter arrives from home, telling Elizabeth that Lydia has eloped with Wickham and that the couple is nowhere to be found, which suggests that they may be living together out of wedlock. Fearful of the disgrace such a situation would bring on her entire family, Elizabeth hastens home. Mr. Gardiner and Mr. Bennet go off to search for Lydia, but Mr. Bennet eventually returns home empty-handed. Just when all hope seems lost, a letter comes from Mr. Gardiner saying that the couple has been found and that Wickham has agreed to marry Lydia in exchange for an annual income. The Bennets are convinced that Mr. Gardiner has paid off Wickham, but Elizabeth learns that the source of the money, and of her family’s salvation, was none other than Darcy. Now married, Wickham and Lydia return to Longbourn briefly, where Mr. Bennet treats them coldly. They then depart for Wickham’s new assignment in the North of England. Shortly thereafter, Bingley returns to Netherfield and resumes his courtship of Jane. Darcy goes to stay with him and pays visits to the Bennets but makes no mention of his desire to marry Elizabeth. Bingley, on the other hand, presses his suit and proposes to Jane, to the delight of everyone but Bingley’s haughty sister. While the family celebrates, Lady Catherine de Bourgh pays a visit to Longbourn. She corners Elizabeth and says that she has heard that Darcy, her nephew, is planning to marry her. Since she considers a Bennet an unsuitable match for a Darcy, Lady Catherine demands that Elizabeth promise to refuse him. Elizabeth spiritedly refuses, saying she is not engaged to Darcy, but she will not promise anything against her own happiness. A little later, Elizabeth and Darcy go out walking together and he tells her that his feelings have not altered since the spring. She tenderly accepts his proposal, and both Jane and Elizabeth are married.

RASA THEORY BY BHARATA CODE OF NATYASHASTRA

kingmaker surya post

Bharata Muni very emphatically states in the Rasadhyaya of Natyashastra that "no meaningful idea is conveyed if the "Rasa" is not evoked." The very core of the Sanskrit Natya theory is the creation of "Rasa". Every dramatic presentation was aimed at evoking in the minds of the audience a particular kind of aesthetic experience, which is described as "Rasa". The concept of "Rasa" is the most important and significant contribution of the Indian mind to aesthetics. The study of aesthetics deals with the realization of beauty in art, its relish or enjoyment, and the awareness of joy that accompanies an experience of beauty. Rasa has no equivalent in word or concept in any other language or art of the world hitherto known to us. The closest explanation can be 'aesthetic relish'. We do come across the mention of Natasutras of Silalin and Krishasva by Panini, prior to Bharata's Natyashastra, yet, it is only Bharatamuni who seems to have given a scientific analysis and codification of the concept of Rasa. Bharata says that Natya is the imitation of life (lokanukruti) wherein the various human emotions have to be dramatically glorified (bhavanukirtanam) so that the spectator is able to flavour the portrayed pleasure and pain (lokasya sukhaduhkha) as Natyarasa. This Rasa experience will entertain and enlighten the spectator who hence becomes the 'Rasika'. The word Rasa is derived from the root 'rasah' meaning sap or juice, taste, flavour, relish. The extract of a fruit is referred to as 'rasa,' which itself is the essence of it, the ultimate flavour of it. Bharata succinctly encapsulates the theory of Rasa in his most famous formula-like Rasa sutra thus: "vibhavanubhavavyabhicharisanyogatRASAnishpattih."1 The aesthetic relish is produced (rasanishpattih) by a combination of the determinants (vibhava), consequents (anubhava), and transitory states or fleeting emotions (vyabhicharibhava). He explains Rasa as the essence derived from the various ingredients. He gives the parallel of the extract, rasa, got from various condiments, having different tastes, when combined becomes delectable to taste. Hence, that which can be tasted or flavored (asvadya) can be termed as Rasa. Just as the gourmet with a refined taste relishes good food, so also cultured and learned persons taste and relish the well established dominant mood (sthayibhava) created by various bhavas and abhinaya.2 This aesthetic relish, which is possible only through mental perception, is termed as 'natyarasa'. Even the terms vibhava, anubhava, and vyabhicharibhava refer only to stage representations, not to realities of life. It naturally follows that what they produce should only be 'natya rasa' (sentiments pertaining to the dramatic spectacle). One enjoys experiencing the emotions with the artistes, and sometimes even visibly expresses it by shedding tears or laughing spontaneously. But both the artiste and the spectator are well aware that neither of them is going through it in reality. This enjoyment is 'natya rasa'. The 6th and 7th chapters of the Natyashastra, known as the Rasadhyaya and Bhavaadhyaya respectively, together bring out the concept of the Bhava-Rasa theory of Bharata, and have hence become the bedrock for all deliberations on aesthetics, including the most brilliant contribution of Abhinavaguptacharya, whose Abhinavabharati remains till date the best commentary on the Natyashastra. "Bhava" is derived from the root 'bhu'-bhavati, that is, 'to become', 'to come into existence'. Bharata gives a causal quality to Bhava, saying 'bhavayanti iti bhava',3 that is, a thing or mental state that brings its awareness or makes one conscious of it, which pervades one like a particular smell. Bharata classifies the Rasa under eight categories (ashtarasa) and gives the corresponding Bhava which gives rise to the rasa. These are known as Sthayi Bhava or pervading stable emotion. They are rati(love), hasa(mirth), shoka(grief), krodha(anger), utsaha(heroism), bhaya(fear), jugupsa(disgust), and vismaya(wonder).4 The corresponding eight Rasa are sringara(amorous), hasya(humorous), karuna(pathetic), raudra(furious), vira(valorous), bhayanaka(horrific), bibhatsa(repugnant), and adbhuta(wondrous).5 There are three types of Bhava, namely, Sthayi (eight types), Vyabhichari (thirty three), and Satvika (eight), totaling to forty-nine. The Satvika bhava are the physical manifestation of intense emotion. They are sthamba(petrification), sveda(perspiration), romancha(horripilation), svarabheda(voice change), vepathu(trembling), vaivarnya(facial colour change), asru(weeping), and pralaya(fainting). It is an amazing analysis of human emotions put in a nutshell ! Vibhava is the cause (karana), the main stimulating cause being termed as alambana vibhava (the determinant), and, the environmental factors that are additional causes termed as uddipana vibhava (excitant). Anubhava is the consequent physical reaction through action, word and facial expression that follows (anu), as the impact of the vibhava. The thirty-three vyabhichari bhava (also referred to as sanchari bhava in some editions), are transitory, fleeting emotions based on psychological states of the mind. Several such emotions follow one after the other, one replacing the other, strengthening the sthayi bhava at each stage, till finally the sthayibhava is established and there is 'Rasanubhava'. "Just as in music a procession of notes in certain combinations reveals a characteristic melodic whole or raga, similarly it seems that the representation of bhavas reveals rasa as an aesthetic whole."6 For instance, in the play Abhijnanashakuntalam, Kalidasa uses King Dushyanta's coming to the hermitage to pay respects to the sage, as the alambana vibhava. The girls' talk, the bee, their attire, the flower garden and such others become the uddipana vibhava. On Dushyanta's entry, fleeting emotions like confusion, wonder, fear, curiosity, bashfulness and such others seem to fill the minds of all the characters present. The blossoming of love between Shakuntala and Dushyanta is gradually established through the reactions of both of them to the conversation of the sakhis with the King. If the 'patra' enacting as Shakuntala is able to show the Satvika bhava of horripilation (romancha) or vepathu (trembling) out of the new experience of love which is strange to an ashramite and Dushyanta is able to portray sthambha (petrification) on seeing her beauty and romancha on knowing her lineage, then the rati sthayi bhava gets established in the mind of the people who can experience the sringara rasa. Bharata says that Bhava and Rasa are mutually dependent. The performer or producer, be it an actor, dancer, singer, instrumentalist, or stage craftsmen, should be conscious of the sthayi bhava and the rasa that they are striving to establish. This will help them realize their 'siddhi' through 'Rasotpatti'.

modern australian poetry

There are and have been many tries to work out a complete definition of Austrian literature. Something most people can agree on is that there are certain differences and distinctive motives common in this literature which make it stand apart from other literary traditions. From the 19th century onward, Austria contributed some of the greatest names in modern literature. It was the home of novelists / short-story writers Adalbert Stifter, Arthur Schnitzler, Franz Werfel, Stefan Zweig, Franz Kafka, Thomas Bernhard, Joseph Roth, or Robert Musil, of poets Georg Trakl, Rose Ausländer, Franz Grillparzer, Rainer Maria Rilke or Paul Celan. Famous contemporary playwrights and novelists are Elfriede Jelinek and Peter Handke, well-known essayists are Robert Menasse and Karl-Markus Gauß. Yet, it is hard to speak of an Austrian literature prior to that period. In the early 18th century, Lady Mary Wortly Montague, whilst visiting Vienna, was stunned to meet no writers at all. For all of Austria's contributions to architecture, and having one of the most hallowed musical traditions in Europe, no Austrian literature made it to the classical canon until the 19th century. A number of reasons can be given. Firstly, the arts were the preserve of the imperial court, who saw culture as a political tool, as propaganda. Fine baroque palaces, imperial portraits and commissions of music could all work very well to this aim, but literature was deemed less suitable, and thus not encouraged. Secondly was the late emergence of a German literature; whilst much was published in the German language, little had the calibre to become 'classic' until the late 18th century, when Goethe and Schiller began writing. In Austria, the imperial state also censored all books mercilessly; The Sorrows of Young Werther, Goethe's novel depicting a young man's ecstatic love and suicide, spawned a string of copycat suicides across Germany, and many states banned the work, but Austrian authorities also banned Goethe's entire opus. It came mostly from Empress Maria Theresa's 'Chastity Commission', intended to uphold public morals, but it had the effect not only of creating a facade of decency, but a stunted intellectual front. But perhaps the greatest reason for Austria's late literary fruition was its cultural mindset. According to the cultural historian Carl Emil Schorske, 'profoundly Catholic, it was a deeply sensuous, plastic culture'. The outlook of a leisured aristocracy, it was copied by the lower classes. This mentality was not necessarily bad; the emphasis on beauty and fantasy was integral to establishing the imperial capital of Vienna, and it made Vienna the greatest centre of music in Europe. But it was not the best ground for literary experiment. Nevertheless, the liberalisation of Austria in the late 19th century created a more dynamic climate for writing, which soon produced a flowering. This article tries to provide some definitions which together may give a better understanding of authors and literature in Austria and its territorial predecessors, referring to all published works as well as those with classic status

the high cast hindu women by pandita ramabai ~ ⓐⓢ ⓨⓞⓤ ⓛⓘⓚⓔ ⓘⓣ

the high cast hindu women by pandita ramabai ~ ⓐⓢ ⓨⓞⓤ ⓛⓘⓚⓔ ⓘⓣ

the high cast hindu women by pandita ramabai

Pandita Ramabai, The High-Caste Hindu Woman (1888) DESCRIPTION Originally published in Marathi, The High-Caste Hindu Woman by Pandita Ramabai (alternatively spelled Pundita Ramabai) was translated into English for this 1888 edition. Ramabai was born in 1859 in Maharashtra to a Chitpavan Brahmin family. Her parents, her brother, and eventually her husband died within a four year span (1876-1880), after which Ramabai became a lecturer and founded the Arya Mahila Somaj to promote women's education and prevent child-marriage. She converted to Christianity, and under the sponsorship of a missionary traveled to England where she and her daughter were baptized by the Church of England in 1883. Eventually, she traveled to the U.S., her accounts of which became the subject of another travelogue. Throughout The High-Caste Hindu Woman, Ramabai presents a sharp critique of caste and gender divisions in Hindu society. This edition opens with a portrait and the obituary of Anandibai Joshee, who graduated from the Woman's Medical College of Pennsylvania in 1886 and became the "first Hindu woman to receive the Degree of Doctor of Medicine in any country." An introduction that reflects on the biographies of both Joshee and Ramabai is attributed to "R.L.B."

Draupadi by mahashvetha devi

Kingmakersurya post Name Dopdi Mejhen, age 27, husband Dulna Majhi (deceased), domicile Cherakhan, Bankrahjarh, information whether dead or alive and/or assistan in erest, one hundred rupees...an exchange between two medallioned uniforms. FIRST MEDALLION. What's this, a tribal called Dopdi? The list of names I brought has nothing like it! How can anyone have an unlisted name? SECOND MEDALLION. Draupadi Mejhen. Born the year her mother threshed rice at Surja Sahu (killed)'s at Bakuli. Surja Sahu's wife gave her the name. FIRST. These officers like nothing better than to write as much as they can in English. What's all this stuff about her? SECOND. Most notorious female. Long wanted in many.. Dossier: Dulna and Dopdi worked at harvests, rotating between Birbhum, Burdwan, Murshidabad and Bankura. In 1971, in the famous Operation Bakuli, when three villages were cordoned off and machine gunned, they too lay on the ground, faking dead. In fact, they Were the main culprits. Murdering surja sahu and his son, occupying upper- ation-more-sustainable- b-fuel-based-au http://scroll.in/bulletins eng-tra 1244/2016 sble even with fuel-based au Makng tra EIon more s caste wells and tubewells during the drought, not surrendering those thre young men to the police. In all this they were the chief instigators. In the morning, at the time of the body count, the couple could not be found. The blood sugar level of Captain Arjan Singh, the architect of Bakuli, rose at once and proved yet again that diabetes can be a result of anxiety and depression. Diabetes has 12 husbands - am ong them anxiety. Dulna and Dopdi went underground for a long time in a Neanderthal darkness The special forces, attempting to pierce that dark by an armed search, compelled quite a few santhals in the various districts of west Bengal to meet their Maker against their will. By the Indian Constitution, all human beings, regardless of caste or creed, are sacred. Still, accidents like this do happen. Two sorts of reasons: (1) The underground couple's skill in self-concealment; (2) not merely the santhals but all tribals of the austro-asiatic Munda tribes appear the same to the specia forces. Samaray hijulenako mar goekope and, Hendre rambra keche keche pundi rambra keche keche This proves conclusively that they are the cause of Captain Arjan Singh's diabetes. Government procedure being as incomprehensible as the Male principle in sankhya philosophy or antonioni's early films, it was Arjan Singh who was sent once again on Operation Forest Jharkhani. Learning from intelligence that the abovementioned ululating and dancing couple was the escaped corpses, Arjan Singh fell for a bit into a zombie-like state and finally acquired so irrational a dread of black-skinned people that whenever he saw a black person in a ball bag, he swooned, saying 'they're killing me', and drank and passed a lot of water. Neither uniform nor scriptures could relieve that depression. at long last, under the shadow of a premature and forced retirement, it was possible to present him at the desk of Mr Senanayak, the elderly Bengali specialist in combat and extreme-left politics. Senanayak knows the activities and capacities of the opposition better than they themselves do. First, therefore, he presents an encomium on the military genius of the sikhs. Then he explains further: is it only the opposition that should find power at the end of the barrel of a gun? Arjan Singh's power also explodes out of the male organ of a gun. Without a gun even the "five Ks" come to nothing in this day and age. These speeches he delivers to all and sundry. As a result, the fighting forces regain their confidenmce in the Army Handbook. It is not a book for everyone. It says that the most despicable and repulsive style of http://. scroll. inVbulletins -sustainable ang-tra e ewen with fu 124/2016 Making fighting isguerrilla warfare with primitive weapons. Annihilation at sight of any and all practitioners of such warfare is the sacred duty of every soldier. Dopdi and Dulna belong to the category of such fighters, for they too kill by means of hatchet and scythe, bow and arrow, etc. in fact, their fighting power is greater than the gentlemen's. Not all gentlemen become experts in the explosion of chambers; they think the power will come out on its own if the gun is held. But since Dulna and Dopdi are illiterate, their kind have practised the use of weapons generation after generation. Ishould mention here that, although the other side make little of him, Senanayak is not to be trifled with.Whatever his practice, in theory he respects