This study examines the phases of human consciousness revealed in the poetry of indigenous people in the light of some prominent psychologists and philosophers mainly Bucke, Schleiermacher, William James, Hegel, and Moores. Bucke and Schleiermacher cited three forms of consciousness: Animal or Brutish Self-awareness, Sensual or Self-Consciousness, and Cosmic Consciousness. While examining the poetry of indigenous people, Palestinians and Native Americans, we find out that the majority moves within the confines of the Sensual or Self-Consciousness in their reaction to the brutish consciousness of the oppressors who deny their unalienable rights for life, liberty, and pursuit of happiness. Unlike others, Mahmoud Darwish, the Palestinian, and Joy Harjo, the Native American, attempt to transcend the sensual consciousness and adopt a broader universal vision or cosmic consciousness; however, their peaceful vision is often shattered by bitter realities and frustrated by the inhuman conduct of their oppressors. In their verses, the particular or the sensual is not completely overlooked or concealed. It is always there, yet alleviated by a universal vision held by the two poets
The London Merchant is always considered the first Bourgeois Drama, written by George Lillo, a tradesman in England. It first performed at the Drury Lane Theatre on June 21, 1731; soon after, it became one of the most popular plays of the century. After the failure of his two earlier plays, Lillo industriously studied the theatric market and strove to include in his new play all the factors that ensure success, such as catering to the expectations and trends of middle class particularly the tradesmen and apprentices, breeding an innovative and appealing dramatic theory, making use of the popularity of criminal literature, and holding in high esteem the fundamentals of Puritanical faith. In doing so, he attained tremendous success and public fame. However, its public success does not square with the literary merit and specifications of a domestic tragedy. This study is meant to mark a number of setbacks the play endures. Among the major setbacks are first, a hazy plot and characterization; second, shaky claim of naturalness and abundant debt, third, over-abundance moralizing that often suspends and rather breaks down the dramatic build up.
This study examines the Native Americans' discourse as revealed in some poems under the title Trail of Tears written by Native American poets and non-Native Americans sympathetic to the cause of indigenous people. A careful examination of such verses showcases that the discourse is always fashioned to yield four distinctive themes: (a) resentment at the atrocities of the settlers and their devastating impact on the Natives; (b) the tragic events as an emblem of ongoing injustice and an inspiration for all American Natives to remember, learn, and protect their identity and resist aggression; (c) genuine faith in the immortality of the soul and the spirituality of the natural world where divine spirits roam and supply moral support and empowerment to oppressed souls; (d) perseverance to protect identity and to keep struggling against aggression until justice is served. Whether the poem is written by an anthologized adept poet or a novice writer, these components are brilliantly articulated to serve the overall purpose of the Natives' cause-i.e., to win the support of the world body of justice and to impel fellow Natives to continue resisting the aggression.
This study examines Byron's portrayals of Napoleon as illustrated in two poems, An Ode to Napoleon Buonaparte and Childe Harold Canto III, particularly in Waterloo and Napoleon. The study is of two sections. The first focuses on the tarnishing of Napoleon's image as introduced in the Ode, a poem published a few days after Byron received the shocking news of Napoleon's abdication. The second focuses on the rehabilitation of the image as suggested in Waterloo and Napoleon, verses written almost two years after the tragic events of Waterloo Battle. Amidst the discussion, the mystical attachment of the poet to Napoleon, the rage over his abdication, and the effect of Napoleon on Byron's trends and convictions are carefully elaborated. Coincidental and psychological affinities and analogies between Byron and Napoleon, as individuals, would be highlighted too. The study concludes that the tarnishing of Napoleon's image in the Ode is only an eventual consequence of Byron's sudden shock and thwarted expectations in what he used to deem as a little pagod. However, after the rage vanished, Byron favorably twists the image of Napoleon and resituate him among his favorite heroes.
This article is designed to highlight the innovation of George Farquhar in his playThe Beaux Stratagem, and to illuminate the factors behind its everlasting appeal to audiences since its first performance in 1707 and after. The play still retains a magnificent appeal to all audiences for centuries, and remains alluring and fascinating to even the 21 st Century audiences. Its magnitude lies in the sure-fire comic devices and witty characters as well in the profound insight adjoined the comic situations and events. As a transitional playwright, Farquhar has one foot in the declining traditions of the Comedy of Manners, and the other foot in the growing vogue of Sentimental Comedy, employing some character types of the old tradition with innovative alteration, together with introducing prototypes of the coming sentimental types. To keep pace with the shift in tone, he modifies the purpose of his play to suit the specifications of critics, moralists and theatre goers. With its innovative particulars, it sets an early premise for the approaching changes in the dramatic conventions and trends of the 18 th Century comedies. More crucially, it forms a gateway to move into the world of sentimentalism, or a bridge between the two.
scite is a Brooklyn-based organization that helps researchers better discover and understand research articles through Smart Citations–citations that display the context of the citation and describe whether the article provides supporting or contrasting evidence. scite is used by students and researchers from around the world and is funded in part by the National Science Foundation and the National Institute on Drug Abuse of the National Institutes of Health.
hi@scite.ai
10624 S. Eastern Ave., Ste. A-614
Henderson, NV 89052, USA
Copyright © 2024 scite LLC. All rights reserved.
Made with 💙 for researchers
Part of the Research Solutions Family.