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Wednesday 4 April 2018
Assignment: Marxism
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Marxism and its
influence on Cultural studies
M.K Bhavnagar University
Department of English
Sem 2
Name – Hema Goswami
Roll no. 12
Enrollment no.
2069108420180020
Paper 8: The Cultural
Studies
Topic: Marxism and its influence on cultural
studies.
Introduction
Marxism sees
culture as the masking of real social and economic conditions where cultural
artefacts conceal exploitative labor and ideology ( a system of
representations) convinces people that everything is alright. Thus the boom in
employment for young graduates at call centers- projected as a great advance-
masks the real economic condition wherein they are paid far less than their
American counterparts.
Marxism
The term Marxism
is coined by Karl Marx and to a lesser extent, by Friedrich Engels in the mid
19th century. Marx applied it
to capitalist society. Marx‘s interpretation of human nature begins with human
need. The point of departure of human history is therefore living human beings,
who seek to satisfy certain primary needs. “The first historical fact is the
production of the means to satisfy these needs.” This satisfaction, in turn, opens the way for
new needs. Human activity is thus essentially a struggle with nature that must
furnish the means of satisfying human needs: drink, food, clothing, the
development of human powers and then human intellectual and artistic abilities. (chambre)
Karl
Marx distinguishes two classes of society :-
a)
Bourgeoisie
b)
Proletariat
Class for
Marx, is defined as the relationship rather than a position or rank in society.
The main classes in capitalism are the bourgeoisie and Proletariat. In Marx
analysis, the capitalist class could not exist without the proletariat, or
vice- versa (sociology 250) . Bourgeoisie or
capitalists are the owners of capital, purchasing and exploiting labor power.
The proletariats are owners of labor power with no other resources than the
ability to work with their hands, bodies and minds.
Capitalist
society
In a
capitalist society the individual is not really free. Marx takes the idea of
alienation, to describe the fact. He brings that idea from Hegel and Ludwig
Feuerbach. The alienation of labor is seen to spring from the fact that the
more the worker produces, the less he has to consume, and the more values he
creates the more devalues himself, because his product and his labor are
separated from him.
Capitalist
society the individual is divided into political citizen and economic actor,
the bourgeois. From the study of society
Mark came to see the state as the instrument through which the propertied class
dominated other classes.
Religion
Marx
considered religion to be a product of human consciousness. It is a reflection
of the situation of a person who “either has not conquered himself or has
already lost himself again” it is an “opium for the people”. Marx believed that
religion would disappear only with changes in society.
Das
Capital
Two
types of value of a commodity:-
1)
Use-value
2)
Exchange-value
Marx argues
that commodities have both a use-value and an exchange value, and that their
exchange-value is rooted in how much labor-power went into them. A use value
corresponds to the usefulness of an object, and is internal to that object. Exchange
value comes from value relative to other objects. An object doesn’t have an
exchange value in itself, but only in its relationship with other objects.
Labor
theory
Value means
the amount of labor it takes to make the commodities. This labor theory is very
important to Marx’s theory. It implies that the price of commodities comes from
how much labor was put into them. There is one implication of labor theory; it
doesn’t have use-value of natural resources because no labor went into them. (editors of sparknotes)
Power of
capitalists
The final
aim of the capitalists is to use commodities to make more and more profit. The
capitalists exploited the workers. The capitalists are able to exploit the
workers because they have power, and control the means of production. In this
way the worker’s character is negatively affected by the system. The product
which they produced is not owned by them, they don’t own the product of their
labor.
Two kinds
of circulation
1)
C-M-C
(commodities-money-commodities)
2)
M-C-M
(money-commodities-money)
Marx
distinguishes two kinds of circulation.
In C-M-C commodities transformed into money which is back transformed
into commodities. It is the direct form of circulation. In this case we sell
commodities in order to buy more, and money acts as a kind of middle man. In
M-C-M, we buy in order to sell; money is capital. The first phase transforms
money into a commodity, the second transforms commodity into money.
Money
Marx
introduces that money plays a very different role in modern capitalistic
society than it does in traditional society. Both types of circulation use
money as a unit of exchange. The money is instrumentally useful in trading
commodities. The ultimate purpose of M-C-M is the accumulation of money. There
is never ending cycle, because the end product is simply more money. Money is
capital, according to Marx, by definition a capitalist’s goal is boundless
enrichment.
Marxism
in cultural studies
The
Marx-Engels analysis of society and the condition of production spilled over
into an analysis of culture.
Ideology
of consumerism
In a
contemporary advertisement for various consumer objects, the advertiser
carefully suggests that the object marks a certain lifestyle. Therefore we do
not simply buy an object but we buy a lifestyle that locates us in a particular
class. This mode of selling object is the ideology of consumerism.
Whatever we
are buying, wearing, taking holidays etc, all these things helps to identify us
as a member of certain class.
It becomes
the ideology that modernity and development can be reduced to a consumer product.
Social
superstructure
The
capitalist mode of production justified and naturalized itself through certain
patterns of thought. The exploitative economic relations of the factory are
carried over into the social realm. The economic base influences the social
superstructure.
Class
Classes are
the basic units in social conflict. Class membership is defined by the
ownership or lack of ownership of the means of production. The working class is
made up of those who sell their labor power, the capitalist class of those that
purchase labor power.
Oppressed
class
The
oppressed class believes this inequality as natural or preordained, and do not
even recognize that they are oppressed. The system of thought and
representation that helps to legitimize inequality and oppression is termed as
‘ideology’. Ideology is a false consciousness that prevents the recognition of
oppression by the oppressed.
Ideology
Ideology is
sustained and reproduced through cultural forms, such as art. Culture must be
understood in relation to the economic conditions of the age. There is
correlation between the socio-economic conditions and the kind of cultural
works produced.
Capitalist
economy
The
capitalist economy creates illusion about itself. The workers are under the
illusion that they are free and unexploited, that the capitalist has a
ligetimate right to the surplus, and that the commodities, money, and capital
have properties and powers of their own.
Antonio
Gramsci
Gramsci
emphasizes the institutional and cultural bases of ideology. Ideology may be
any form: political propaganda, sermons, folklore and popular songs. Ideology
is not false consciousness, simply because for Gramsci popular songs and
superstitions are themselves material forces.
Hegemony
Gramsci
develops the concept of hegemony to demonstrate hoe ideology works. Hegemony is
the nexus of material and ideological instruments through which the dominant
classes maintain their power. Hegemony thus mediates between the ruling ideas
and the subjects. The hegemony of the ruling dominant class is maintained through
coercion and consent. The ideas of the dominant class are institutionalized in
the civil society. A more subtle form of control is to employ intellectuals to
be naturalize the present. The ruled must be made to accept things.
Louis
Althusser
Ideology for
Louis Althusser constructs the individuals as subjects of the system. It gives
the identity necessary to the functioning of the existing state of affairs,
while making them feel as if they are free agents. Althusser termed
“interpellation” for free agents. It is a system of representations.
Repressive
state Apparatuses
State power
is maintained through Repressive State Apparatuses like the police, the army,
law courts and prisons that operate through actual or threats of coercive
force/violence. But the power is also maintained through the active consent of
the subjects. This is achieved through Ideological State apparatuses of State
control, the political groups, the media, the education system, religion and
art.
Conclusion
Therefore culture
is the expression of class conflict and social relations that are structured by
and through power relations. Economic conditions determine social and cultural
formations. Even the ideologies that reinforce the class differences and power
relations are functioning through culture. Culture is often a mode of
concealing economic conditions, where images and representations make us
believe that these conditions are ‘natural’. (nayar)
Works Cited
chambre, David t. mclellan and henri.
"Marxism." 2 january 2018. ecyclopaedia britannica.
<https://www.britannica.com/topic/Marxism>.
editors of sparknotes.
"das Kapital." 2007. sparknotes.com. <www.sparknotes.com/philosophy/daskapital/section1/>.
nayar, Pramod k. An
introduction to cultural studies. n.d.
sociology 250.
"marx's theory of social classand class structure." 28 september
1999. uregina.ca. <uregina.ca/~gingrich/s28f99.htm>.
Assignment: Dhvani theory
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Dhvani Theory
M.K Bhavnagar University
Department of English
Sem 2
Name – Hema Goswami
Roll no. 12
Enrollment no.
2069108420180020
Paper 7: Literary Theory
and Criticism
Topic: Dhvani Theory
Introduction
There cannot be any poetry
without words. Indian Poetics evolved out of dramaturgy. The poetry invokes
emotional response; and that is followed by the understanding of its emotive
language and the appreciation by the reader of the true import of the poet.
The success of a good Kavya
involves three aspects:-
ü Pratibha ( the poet’s creative inspiration)
ü Body of the Kavya (its form by way of word and
meaning)
ü Rasa (the aesthetic effect)
Bharat’s
Natyasastra is the earliest known treatise on Poetics and dramaturgy.
His Natyasastra mentions four Alamkaras( Poetic figure), ten Gunas
(excellences), ten Dosas (defects) and thirty six Laksanas (characteristics) of
poetic composition. (Shodhganga)
In Indian poetics,
scholars had different viewpoints, so they formed different sampradayas (school
of thought). The chief schools are:-
Ø Alamkara (poetic figure)
Ø Rasa (aesthetic pleasure)
Ø Riti (style)
Ø Guna (attribute)
Ø Dhvani (suggestion)
Ø Vakrokti (obliquity)
Ø Aucitya (propriety)
Dhvani School of
Poetry
It is regarded as a
“meaning school” which gives suggestion. That suggested sense is not
apprehended by mere knowledge of grammar and dictionary. It is only apprehended
by the knower of the poetic meaning, who knows how to recognize the essence of
poetic meaning. (rao)
The suggestive word, the
suggested meaning, the power of suggestion; and their mutual relationship are
virtually the lifeblood of Indian poetics.
The word dhvani is used
for:-
i.
Conventional
symbol- the articulate sound.
ii.
Conventional
meaning
iii.
The power of word
to convey the suggestive meaning
iv.
The suggestive
meaning
v.
Poetic work
containing the suggestive element.
Anandavardhana-“
Dhvanyaloka”
Dhvani school of poetry
was formulated by Anandavardhana who wrote “Dhvanyaloka” in the middle of the 9th
century. It brought focus on the potential power of the word in a kavya. Here,
the word together with its literal sense forms the body of Kavya.
Anandavardhana in Dhvanyalokam takes up three main types of
implicit sense:-
·
Vastu dhvani
·
Alakaara dhvani
·
Rasa dhvani
In Vastu dhvani some rare
fact or idea is implied. In Alankaara dhvani some alankaara or figure of speech
is suggested. In Rasa dhvani rasa is evoked. Both Vastu dhvani and Alankaara
dhvani can be expressed by direct meaning or vacyaartha, by suggestion or
vyangyaartha. But the third variety of implicit sense of rasa dhvani can never
be expressed in the direct meaning of
words.
In other words: it is not
the direct literal and obvious meaning that is explicit in poetry, but it is
the suggested, indirect and emotive meaning that matters. The primary meaning
can be understood by all. But the suggested meaning is understood only by those
who are gifted with some imagination and a sort of intuition. The mere
knowledge of word is not enough to understand and enjoy the poetic import or
the essence of the kavya. It needs intuition or Pratibha.
Mammatacharya calls Pratibha as:-
“nava-navaanvesha-shalini
prajna”, Means the ever inventive and resourceful intellect.
Mammata seems to suggest
that Anandavardhana graded the entire body of kavya into three classes:-
§ Dhvani kavya- The poetry that suggest as the true
kavya, the best (uttam), where dhvani the unspoken suggestive element is
dominant
§ Gunibhuta-vamgmaya-kavya- well endowed descriptive
poetry, as the middle where dhvani is secondary to Alamkara, and serves as a
decoration for the spoken or expressed meaning.
§ Chitrakavya- poetry that structured into various
patterns or drawings.
Some dispute Mammata’s
statement and point out that Anandavardhana did not say any such things.
The Dhvanyaloka is divided
into four chapters called Uddyotas. In the beginning of the first Uddyota
Anandavardhana summarizes the purpose of writing his book:
“Kavyastama dhvanir iti
budhair yah samamnata- purvah.”
It means the soul of
poetry has already been recognized, the theory of dhvani is the essence of
poetry. Anandavardhana has borrowed the term “dhvani” from the field of
grammar. Anandavardhana discusses all the factors connected to dhvani doctrine
such as Alamkara, Guna, Riti, etc. He assignes their true place in relation to
rasa and dhvani.
The technical term Sphota pertaining to dhvani
of the grammarians has been employed by the Rhetorecians in a slightly
different sense.
The supporters of Dhvani
theory maintain that the situation, the context, the speaker, the words and
their meanings all conjointly produce the suggestion.
There are three
powers of words or three aspects of Dhvani
v Abhidha (denotation)
v Laksana ( implication)
v Vyanjana (
suggestion)
According to
Anandavardhana a word is not only endowed with the two powers of denotation and
implication but also that of suggestion.
v Abhidha is basic and other two saktis rest upon it.
Abhidha may be defined as that power of words which conveys the conventional
meaning or the literal meaning of the expression.
v Laksana is the second power of the word is, it is
indication power. It consists in the external characteristics of the expression
which are indicative of something deeper.
v Vyanjana is the third power which means what is
suggestive.
We arrive at the suggested
sense either through ‘Abhidha’ or ‘Laksana’. According to vaiyaakaranaas sphota
is vyangya or what is suggested. In
verbal expression ‘abhidha’ and ‘laksana’ form the nature of the condition and
‘Vyanjana’ or ‘dhvani’ is of nature of contents. Abhidha and Laksana are
ways and Vyanjana is the end.
The Dhvani theory, in all
its minute details has five thousand, three hundred and fifty five subdividions
of suggestive poetry. Dhvani is what one overhears in good poetry, the meaning
that echo after a statement has been made. It is basically a semantic theory.
Sphota
The basic principle of
dhvani is innate in Sphota vada: strictly speaking it is not admissible to take
words separately by splitting a sentence. The concept of dhvani was inspired by
the ancient doctrine of Sphota, that which flashes or bursts forth the
meaning. The term sphota signifies:
bursting; opening; expansion’ disclosure; the eternal and imperceptible element
of sound and words. To those who
advocated the divisibility of both pada and vakya, it is the last sentence in a
structure that indicates sphota. Sphota is practically manifest from the last
sound. It is from the last sound that the cognition of the entire
word-structure is derived, together with the impression produced by proceeding
sound.
Sphota in this context is
“antima buddhi graahya” or what is known by the last word. Sphota is also
“antim varna graahya”, or what is known by the last syllable as even the last
alphabet.
Indian rhetoricians have
made a meticulous study of both the meaning and emotive context of words. Words
have at least two meanings, one literal meaning, the other suggested meaning
which is described as dhvani or the meaning that echoes.
Sphota is a distinct
entity, by itself. It is a gradual process, the mind acquires progressively
greater and greater aptitude for receiving further glimpses; with the utterance
of the last sound unit the process comes to a close. Dhvani is so termed
because it sounds, rings, or reverberates because it is sphota. The idea of one
thing indicating something else which it is not is the distinguishing character
of dhvani.
Abhinavgupta –
“Dhvanyaloka locanam”
Abhinavgupta explains the
word ‘dhvani’ in two different way:-
1.
Dhvani iti dhvani
2.
Dhvanyate iti
dhvani
The first is ‘dhvani iti
dhvani’ , that which sounds or reverberates or implies is dhvani. The second is
‘dhvanyate iti dhvani’ or dhvani is what is sounded or reverberated or implied.
This double derivation
explains dhvani as something which is implied and is necessary to keep the two
meaning apart to avoid confusion. The one suggests an agent or the power of
suggester, the other is what is suggested. All the three types of dhvani ,
Vastu dhvani, Alankaara dhvani and rasa dhvani come under ‘dhvanyate iti
dhvnai’ or that which echoes.
Abhinavagupta accepts the
three types of dhvani as given by Anandavardhana. However he adds some other
explanation to it. (beehive
digital concepts cochin)
Views of other scholars
Many scholars did not
entirely agree with Anandavardhana’s exposition of Dhvani. Those who criticized
his views include: Bhattanayaka, Kuntaka, Mahimabhatta, Dhananjaya, Bhoja,
Rajasekhra, Vishwanatha and few others. They raised questions like:- If Guna
and Alamkara are different from Dhvani, how can they be said to produce beauty?
Mammata carried forward
the argument that Rasa is the principle substance and the object of poetry. He
stated vakyartha rasatmakarth kavyam establishing the correlation between Rasa
and poetry; and pushing down the dhvani.
Mahimabhatta included all
types of dhvani under the head Anumana, the inference, since Dhvani has no
independent or cognizable existence.
Eventually,
Anandavardhana, Abhinavgupta, Mammata and other defended the Dhvani and Rasa
Dhvani; and successfully deflected most of the criticisms.
Conclusion
Anandavardhana, who was an
advocate of rasa, was also the greatest exponent of Dhvani. He concluded that
rasa was expressed only through dhvani. His commentator Abhinavagupta lays down
that dhvani can be employed in the whole work or in just the meaning or only in
a word.
Works Cited
beehive digital concepts cochin. "chapter iii.
dhvani and rasa." shodhganga.inflibnet.ac.in.
<shodhganga.inflibnet.ac.in/bitstream/10603/644/8/08_chapter3pdf>.
rao, sreenivasa.
"kavya and indian poetics." 24 july 2015. wordpress.com.
<http://sreenivasarao.com/tag/classifications-of-dhvani/>.
Shodhganga.
"chapter iii indian poetics." n.d.
Assignment: The Victorian Literature
To evaluate my assignment click here
Victorian novelist
Charles Dickens and his five major works
M.K Bhavnagar University
Department of English
Sem 2
Name – Hema Goswami
Roll no. 12
Enrollment no.
2069108420180020
Paper 6: The Victorian
literature
Topic: Victorian novelist Charles Dickens and his
five major works
Introduction
Victorian age
was begins with the reign of Queen Victoria from 20 june 1837 and lasted until
her death on 22 january 1901. In Victorian age there is increasing turn towards
Romanticism, mysticism with regard to religion, social values, and arts. The
Victorian era is a period that possessed sensibilities and characteristics
distinct from the adjacent age. Victorian period was interested in literature.
There were many prominent figure rise, such as Charles Dickens, Arthur Conan
Doyle, Charlotte, Emily and Anne Bronte, Robert Louis Stevenson, and William
Mackepeace Thackeray. (wikipedia the free encyclopedia)
Novelists
The
literature of this era is mainly written in English. Novel was most important
in Victorian era just like poetry most important in romantic era.
There are
many important novelists who reflect the characteristics of Victorian
literature of the age:-
1.
Charles
Dickens
2.
William
Thackeray
3.
Three
Bronte Sisters
4.
George
Eliot
5.
Thomas
Hardy
6.
Joseph
Conrad
7.
Rudyard
Kipling
8.
Arthur
Conan Doyle
9.
H.G.
Wells
10.
Oscar Wilde
Charles
Dickens
Charles
Dickens is most famous British Novelist who dominated the first part of
Victorian age. Dickens was born on 7th February, 1812 at Postsmouth,
Hampshire, England and died on 9th june 1870 at Gad’s Hill, near
Chatham, Kent. Dickens is very much popular than other novelists of the age.
The qualities of his work enabled his fame to spread worldwide very quickly. (Collins)
Popular
works
i.
Pickwick
Paper (1836)
ii.
Great
Expectations (1861)
iii.
Nicholas
Nickleby (1839)
iv.
David
Copperfield (1850)
v.
A
Tale of Two Cities (1859)
i) Pickwick
Paper
Charles Dickens first novel is Pickwick Paper.
It was published in 1836. It is a sequence of loosely relayed adventures. Dickens satirized the case of George Norton
in The Pickwick Papers.
Samuel
Pickwick is the main
character of the novel and the founder of Pickwick club. He extent his research
in finding other members of club along with other “Pickwickians” their travels
throughout the English countryside by coach provide the chief theme of the
novel. In this novel there is accurate description of the old coaching inns of
England. Each character in this novel is drawn comically. The character like Alfred
Jingle provides as aura of comic villainy, with his devious tricks
repeatedly landing the Pickwickians into trouble. Through humor Dickens is able
to capture quintessential aspects of English life in the mid-nineteenth
century. (wikipedia the free encyclopedia)
ii)Great
Expectations
It is the
thirteenth novel by Charles Dickens, a bildungsroman that depicts the personal
growth and personal development of an orphan nicknamed Pip. On Christmas eve
Pip encounters an escaped convict in the village churchyard, while visiting the
graves of his parents and siblings. He is living with his elder sister and her
husband. The convict scares Pip into stealing food and file.
One day Pip
is taken by his uncle Pumblechook to play at Satis House, there Pip falls in
love with Estelia, the adopted daughter of Miss Havisham and started dreaming
of becoming a wealthy gentleman, but his hopes are dashed when Miss Havisham
decides to help him become a common laborer in his family’s business. With her
guidance, Pip is apprenticed to his brother in law- Joe. Joe is the village’s
Blacksmith. Pip works in the forge unhappily; there he encounters Joe’s
malicious day laborer. Pip’s sister Mrs joe is viciously attacked and Pip
suspects Orlick for the attack.
A lawyer Mr. Jaggers brings strange news that
a secret benefactor has given Pip a large fortune. Pip happily assumes that his
previous hopes have come true. Pip went to London and there he befriends a
young gentleman named Herbert Pocket and Wemmick (Jagger’s law clerk). Pip
furthers his education by studying with the Tutor Matthew Pocket, Herbert’s
father.
One night a
familiar figure barges into Pip’s room- the convict, Magwitch, who stuns Pip by
announcing that he is the source of Pip’s fortune. Before the revelation, Pip
assumes that Miss Havisham, is the source. A complicated mystery begins to fall
into place when Pip discovers that Estella is Magwitch’s daughter.
Before
Magwitch’s escape attempt, Estella marries an upper-class lout named Bentley
Drummle.
Pip decides
to go abroad with Herbert to work in the mercantile trade. Pip works eleven years in Egypt and afterwards
returns to England and visits Joe, Biddy and their son. He also encounters
Estella in the ruined garden at Satis house. There are too many characters in
this novel which confuses the readers. Drummle, her husband treated her badly,
but he dead now. Pip finds that
Estella’s coldness and cruelty have been replaced by a sad kindness, and they
meet again. (editors of sparknotes)
iii)
Nicholas Nickleby
Nicholas
Nickleby is the central character of the novel. He sets off to be a
schoolmaster in the north England, after the death of his father. His garrulous
mother finds hard to bear the death of her husband. Nicholas, his sister Kate, and their mother set
out for London. Squeers, is the evil headmaster of Nickleby, whose reign of
terror has resulted in the abuse and deaths of his cringing charges, orphans
and unwanted children. Nicholas leaves the school. When he arrives in London,
he seeks out Newman Noggs, his uncle’s clerk, who hasd promised to help him and
remove the false charges of being a thief that had been brought against him by
Squeers and Ralph Nickleby.
At
Bristol Nicholas meet Vincent Crummles, a theatrical producer. Nicholas becomes
an actor in touring company of Mr. Mrs. crummies. Nicholas rescue a handicapped
boy, the boy revealed to be the illegitimate son of Nicholas’s uncle Ralph
Nickleby, who has also plotted against the innocence of Nicholas’s sister Kate. (kellman)
At the end
of the novel there is happy ending, Nicholas married to Madeline, Kate married
to Frank Cheeryble.
iv)
David Copperfield
It is the
eighth novel by Charles Dickens. The novel’s full title is “The Personal
History, Adventures, Experience and Observation of David Copperfield the
younger of Blunderstone Rookery.” It was Dickens’s favorite among his own
novels. The novel describes the journey
of the protagonist David Copperfield. It
also contains disturbing description of child abuse. From childhood to
maturity, it describes all the life events of Copperfield.
After the
death of his father, mother married to Edward Murdstone, During the marriage
David is sent to lodge with Peggotty’s family( housekeeper) in Yarmouth. On his
return David is given a good reason to dislike his stepfather. Soon afterwards
David was sent away to a boarding school, Salem house, under a ruthless
headmaster, Mr. Creakle. There he befriends an older boy, James Steerforth, and
Tommy Traddles. After the death of his mother, he was sent to work for a wine
merchant in London- a business for which Murdstone is a joint owner. There at London David’s landlord is areested
for debt and no one remains to care for David, so he decides to run away.
David’s aunt
helps him a lot and also sends him to a far better school than he last
attended. During term, David Lodges with the lawyer Mr. Wickfield, and his daughter
Agnes, who becomes David’s friend.
After
completing school, David learns to be a proctor. David marries to Dora Spenlow,
but their marriage proves unhappy, because Dora dies early. Afterwards Agnes
encourages David to return to normal life, and then David realizes that he
loves Agnes. They quickly marry and in this marriage, he finds true happiness. (wikipedia the free encyclopedia)
v) A Tale of Two Cities
It is a
historical novel, set in London and Paris before and during the French
Revolution. It is the story about the French Doctor Manette. He is imprisoned
18 year long in Paris. He is released to life in London. He has a daughter
Lucie, whom he never met. She does manage to bring Dr. Manette back into the everyday world. It
is against the condition of French Revolution and the Reign of Terror. Darney
marries Lucie, and on the day of his wedding, he tells Dr. Manette a secret: he
is actually a French Nobleman in disguise.
Long ago, Dr.
Manette scribbled down the history of his own imprisonment and secreted it in a
wall of Bastille. The history tells a sordid tale of rape and murder- crimes
committed by Darnay’s father and brother. Darney and his family head back to
England in safety. Carton (looks exactly like Charles Darnay) takes Darnay’s
place in Prison and dies on the guillotine. (shmoop editorial team)
Conclusion
Charles Dickens was much more than a
great entertainer. The range, compassion, and intelligence of his apprehension
of his society and its shortcomings enriched his novels and made him both one
of the great forces in 19th century Literature and an influential
spokesman of the conscience of his age.
Works Cited
Collins, Philip. Charles Dickens. 2018. 2
february 2018
<http://www.britannica.com/biography/Charles-Dickens-British-novelist>.
editors of sparknotes.
"great expectations summary." 2017. www.sparknotes.com.
<www.sparknotes.com/lit/greatex/summary/>.
kellman, steven g.
"nicholas nickleby summary." 2009. eNotes.com. 3 april 2018
<http://www.enotes.com/topics/nicholas-nickleby>.
shmoop editorial team.
"a tale of two cities summary." 11 november 2008. www.shmoop.com.
3 april 2018 <http://www.shmoop.com/tale-of-two-cities/summary.html>.
wikipedia the free
encyclopedia. "Victorian era." wikipedia the free encyclopedia
28 march 2018.
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