ACHILLES

 Achilles.

A hero in the war between the Greeks and the Trojans, Achilles was the foremost warrior in Greek mythology. He figures prominent'v in the Iliad, the epic by Greek poet Homer that tells the story of the Trojan War. Achilles possessed strength, bravery, military skills, pride, and honor—all the qualities the ancient Greeks prized as manly virtues. Yet his conduct was also shaped by anger and stubbornness. The tension between Achilles' larger-than-life virtues and his all-too-human weaknesses plays a role in the mood of heroic tragedy found in the Iliad.

Achilles' Heel. Like many mythological heroes, Achilles was part human and part supernatural being. His parents were Peleus, a king of Thessaly in northern Greece, and a sea nymph named Thetis. According to Homer, Thetis raised both Achilles and his closest friend and companion, Patroclus.Other accounts added various details to Achilles' life. In one story, Thetis, fearful for her son's safety, tried to protect him by rubbing him with ambrosia, the food of the gods, and holding him in a fire to burn away his human weakness. This action horrified Peleus, and Thetis, angry at his distrust, abandoned her husband and child and returned to the sea.Another version of Achilles' story said that Thetis tried to make her infant son invulnerable by dipping him into the river Styx, which flowed through the underworld. However, the water did not touch the heel by which she held Achilles, and this spot remained vulnerable. This myth is the source of the term Achilles' heel, which refers to a person's one great weakness.

Achilles' strength and athletic superiority emerged early. At age six, he could run fast enough to catch deer and was strong enough to kill lions and wild boars. Some myths say that Achilles learned to run from the centaur Chiron, who also taught him music, medicine, and the skills of warfare. According to some legends, Achilles was destined from birth to suffer one of two fates: a long life without glory or a glorious death in battle at Troy.The Trojan War. When the Trojan War began, Achilles' parents sent him to the court of King Lycomedes on the island of Skyros, where he was disguised as a girl. They hoped this would keep him from being drawn into the combat and suffering the fate of theprophecy that said he would die at Troy. Meanwhile, a seer warned the Greeks that they would never defeat the Trojans without the help of Achilles.

The Greeks searched for the boy, and Odysseus, the most cunning and resourceful of the Greek leaders, learned of Achilles' hiding place. Passing as a traveling merchant, Odysseus displayed ornaments to the women of the royal household at Skyros. Among the ornaments were weapons. When one "girl" admired a shield and spear, Odysseus knew that he had found Achilles.Odysseus persuaded Achilles to join the Greek forces against Troy, even though Achilles owed no loyalty to them. Some stories say that he agreed to fight to prove his courage. Other versions claim that both Achilles and Odysseus were reluctant to join the war, which was fought over the kidnapping of a beautiful Greek woman named Helen by the Trojan prince Paris. In any case, both Achilles and Odysseus joined the Greek forces led by King Agamemnon, which were camped outside the walls of Troy in Asia Minor.

In the tenth year of the Trojan War, Achilles and Agamemnon became involved in a fierce dispute. Forced to return a young woman he had taken as a prize of war, Agamemnon demanded the woman Achilles had received as a prize instead. Achilles was furious and withdrew into his tent, refusing to fight.When Hector, son of the Trojan king and Troy's leading warrior, attacked the Greek forces, Achilles still refused to fight. His friend Patroclus asked if he could borrow Achilles' armor. He thought that the Trojans, seeing the armor of the most feared Greek warrior, would certainly retreat. Achilles reluctantly agreed. However, to his great horror and sorrow, Patroclus was killed in combat by Hector.

Guilio Romano painted this fresco called Thetis Delivering Arms to Achilles in the early 1500s. Thetis, Achilles' mother, brings him a new suit of armor to wear when he rejoins combat in the Trojan War.

centaur half-human, half-animal creature with the body of a horse and the head, chest, and arms of a humanprophecy foretelling of what is to come; also something that is predictedseer one who can predict the future Achilles rushed into battle in a furious desire to avenge the death of Patroclus. Three times he chased Hector around the walls of Troy before killing the Trojan prince in one-on-one combat. He then dragged the body behind his chariot, preventing the Trojans from burying it and holding a proper funeral, as the Greeks had done for Patroclus. The gods forced Achilles to surrender the body of Hector to his grieving father, King Priam of Troy.Achilles in Literature and Art.

 The Iliad ends with Hector's funeral and does not mention what happened to Achilles. 

Other sources, however, say that Achilles died in the Trojan War, shot through the vulnerable spot in his heel by Hector's brother Paris, who had started the war by kidnapping Helen. In the Odyssey, the Greek epic that is a sequel to the Iliad, Achilles descends to the underworld, where he meets Odysseus. Other accounts say that Thetis seized her son's body from its funeral pyre and carried him away to a new existence on the island of Leuke in the Black Sea.Several ancient Greek playwrights wrote works that deal with the legacy of Achilles. The tragedy Ajax by Sophocles is about the contest over who should receive the dead warrior's armor. The ghost of Achilles appears as a character in Hecuba, a play by Euripides.

Later writers also focused on Achilles. In The Divine Comedy, a long poem by the Italian writer Dante Alighieri in the early 1300s, Achilles is shown living in the Second Circle of Hell, a place reserved for those who died because of love. Dante wrote that Achilles "fought with love at the last"—a reference to the legend that Paris lured Achilles to his death by making him think that he would be meeting a woman he loved. A French opera called Achille et Polyxène, written by Jean-Baptiste Lully in 1687, is based on the same myth. More than 50 other operas have been written about Achilles.

The Achilles Paradox

In the 400s B . C ., the Greek philosopher Zeno created a paradox—something that seems contradictory and impossible to explain. It involved a race between a tortoise and Achilles, a famously fast runner. According to Zeno, if the tortoise received a head start and continued to move on, Achilles could never catch up. By the time he reached the tortoise's starting point, the tortoise would have moved on to another point. This situation would occur again and again, with the tortoise always remaining ahead of Achilles.

This so-called Achilles paradox dealt with the problem of a continuum, a limited distance divided into unlimited smaller units. The Greek philosopher Aristotle proposed a solution: Because Achilles never actually stops at the points on the continuum, they do not exist. Thus Achilles would be able to catch the tortoise.

pyre pile of wood on which a dead body is burned in a funeral ceremony

English writers such as Geoffrey Chaucer and William Shakespeare mention Achilles in a number of works. The power of Achilles is mentioned in Chaucer's The Canterbury Tales, and Shakespeare made the Greek warrior a central character in his long poemTroilus and Cressida. The mighty Achilles has also been the subject of many art works, from ancient Greek vases to paintings by the Flemish artist Peter Paul Rubens (1577-1640) and French painter Nicolas Poussin (1594-1665).

The Count of Monte Cristo" by Alexandre Dumas

 "The Count of Monte Cristo" by Alexandre Dumas is a classic adventure novel that follows the story of Edmond Dantès. Falsely accused of treason, Dantès is imprisoned in the Château d'If. During his imprisonment, he learns of a hidden treasure on the island of Monte Cristo. After escaping, he discovers the treasure, adopts the persona of the Count of Monte Cristo, and seeks revenge on those who betrayed him.

The novel explores themes of justice, revenge, and redemption. It delves into the consequences of unchecked ambition and the impact of betrayal on individuals. The characters are intricately woven into a narrative that spans several years, and the plot is filled with twists and turns.

Dumas skillfully crafts a tale that not only entertains but also provides insights into human nature. The Count's pursuit of justice blurs the line between right and wrong, prompting readers to contemplate the morality of revenge.

In summary, "The Count of Monte Cristo" is a captivating story of betrayal, revenge, and the complexities of human morality. Its rich characters and intricate plot make it a timeless literary classic.

THE LOVE SONG OF J. ALFRED PRUFROCK by T. S. ELIOT

 "The Love Song of J. Alfred Prufrock" by T.S. Eliot is a modernist poem that delves into the inner thoughts and anxieties of its speaker, J. Alfred Prufrock. Here's an explanation and critical analysis:

**Explanation:**

The poem is a dramatic monologue, narrated by Prufrock, a middle-aged man who is socially anxious and self-conscious. Throughout the poem, Prufrock grapples with his insecurities, regrets, and a sense of alienation. The title, "Love Song," is ironic, as the poem doesn't conform to traditional expressions of love.

Prufrock contemplates attending a social event, but his fear of judgment and rejection paralyzes him. The poem is a stream of consciousness, capturing Prufrock's fragmented and disjointed thoughts as he reflects on his life and potential romantic involvement.

Eliot employs rich imagery, symbolism, and allusions to create a complex and layered narrative. The poem is known for its exploration of the modern condition, capturing the disillusionment and fragmentation prevalent in the early 20th century.

**Critical Analysis:**

1. **Modernist Themes:** "Prufrock" is a quintessential modernist work, reflecting the fragmented and uncertain nature of post-World War I society. It explores the alienation and disconnection experienced by individuals in the rapidly changing urban environment.

2. **Symbolism and Imagery:** Eliot uses vivid and sometimes surreal imagery to convey Prufrock's inner world. Symbolic elements, such as the yellow fog and the mermaids, add depth to the poem and invite various interpretations.

3. **Allusions:** The poem is rich in literary and cultural allusions, ranging from Dante's "Inferno" to the works of Shakespeare. These allusions contribute to the poem's intellectual density, requiring readers to engage with a broad range of references.

4. **Narrative Voice:** The choice of a dramatic monologue allows Eliot to delve into the psyche of Prufrock. The poem is a reflection of the internal struggles, doubts, and musings of the speaker.

5. **Time and Paralysis:** The repeated theme of time and the phrase "There will be time" underscore Prufrock's sense of hesitation and procrastination. The poem captures a moment of paralysis, reflecting the inability or unwillingness to take decisive action.

6. **Social Critique:** Prufrock's social anxieties and his fear of societal judgment reflect a broader critique of the social norms and expectations of the time. The poem explores the conflict between individual identity and societal conformity.

In essence, "The Love Song of J. Alfred Prufrock" is a complex and introspective exploration of the human condition in the modern world. Eliot's innovative use of language and form, coupled with Prufrock's internal struggles, makes the poem a significant work in the realm of modernist literature.

JULIUS CAESAR by William Shakespeare

 "Julius Caesar" is a tragedy by William Shakespeare that revolves around the political conspiracy leading to the assassination of Julius Caesar, the Roman dictator. The play explores themes of power, betrayal, and the consequences of political ambition.

Summary:

The story begins with Caesar's triumphant return to Rome, where his growing power raises concerns among some senators, including Cassius and Brutus. Cassius convinces Brutus to join a conspiracy against Caesar, arguing that it is in the best interest of Rome. Despite his conflicting loyalties, Brutus reluctantly agrees, and they, along with other conspirators, assassinate Caesar on the Ides of March.

After Caesar's death, chaos ensues in Rome. Mark Antony, Caesar's loyal friend, turns the public against the conspirators through a powerful funeral oration. Civil war erupts between Antony and Octavius Caesar (Caesar's adopted heir) on one side and Brutus and Cassius on the other. The play culminates in the Battle of Philippi, where Brutus and Cassius face defeat and both commit suicide.

Analysis:

1. **Ambition and Power:** The play delves into the consequences of unchecked political ambition and the lust for power. Caesar's rise to dictatorship triggers a chain of events that leads to tragedy.

2. **Betrayal and Friendship:** The theme of betrayal is central, particularly in the relationships between Caesar and Brutus, and Cassius and Brutus. The play explores the conflict between personal loyalty and loyalty to the state.

3. **Rhetoric and Manipulation:** The power of language and persuasion is evident in Antony's funeral oration, which sways public opinion against the conspirators. The play highlights the manipulation of words for political gain.

4. **Fate and Free Will:** The concept of fate and the inevitability of certain events are recurring motifs. Characters grapple with whether their actions are predetermined or if they have the power to shape their destinies.

5. **Tragic Hero:** Brutus is often considered the tragic hero, a character with noble qualities whose flaws lead to his downfall. His internal conflict and moral dilemmas contribute to the tragic nature of the play.

"Julius Caesar" remains relevant due to its exploration of political intrigue, moral dilemmas, and the complex nature of human relationships.

BELOVED by Toni Morrison

 "Beloved" by Toni Morrison is a novel set in post-Civil War America. The story revolves around Sethe, an escaped slave haunted by the trauma of her past. She lives in a house with her daughter Denver and encounters a mysterious young woman who calls herself Beloved. The novel delves into themes of slavery, motherhood, and the impact of the past on the present.

The narrative weaves between the characters' memories and the present, creating a complex and layered story. Morrison employs a unique narrative structure and symbolism to explore the psychological and emotional scars left by slavery. The character of Beloved represents the unresolved trauma and the ghosts of the past.

The novel addresses the dehumanizing effects of slavery, depicting the characters' struggles for identity and agency. The prose is rich with symbolism and metaphors, inviting readers to reflect on the legacy of slavery and its enduring impact on individuals and communities.

"Beloved" has received critical acclaim for its exploration of African American history, its vivid characters, and Morrison's masterful storytelling. It won the Pulitzer Prize for Fiction in 1988 and is considered a seminal work in American literature.

ROMANTICISM

 Romanticism

The Romantic era entails a movement in the literature and art of virtually every country of Europe, the United States, and Latin America that lasted from the late 18th century to the early 19th century.  It is characterized by a shift from the structured, intellectual, reasoned approach of the 1700’s to use of the imagination, freedom of thought and expression, and an idealization of nature.  Certain themes and moods, often intertwined, became the concern of almost all 19th-century writers.  Those themes include libertarianism, nature, exoticism, and supernaturalism.

Inspiration for the romantic approach initially came from two great shapers of thought, French philosopher Jean Jacques Rousseau and German writer Johann Wolfgang von Goethe. The preface to the second edition of Lyrical Ballads (1800), by English poets William Wordsworth and Samuel Taylor Coleridge was also of great importance as a manifesto of literary romanticism.  The two poets reiterated the importance of feeling and imagination to poetic creation and disclaimed conventional literary forms and subjects. Thus, as romantic literature everywhere developed, imagination was praised over reason, emotions over logic, and intuition over science—making way for a vast body of literature of great sensibility and passion. This literature emphasized a new flexibility of form adapted to varying content, encouraged the development of complex and fast-moving plots, and allowed mixed genres (tragicomedy and the mingling of the grotesque and the sublime) and freer style.

Libertarianism 

Many of the libertarian and abolitionist movements of the late 18th and early 19th centuries were given rise by the romantic philosophy—the desire to be free of convention and tyranny, and the new emphasis on the rights and dignity of the individual. Just as the insistence on rational, formal, and conventional subject matter that had typified neoclassicism was reversed, the authoritarian regimes that had encouraged and sustained neoclassicism in the arts were inevitably subjected to popular revolutions. Political and social causes became dominant themes in romantic poetry and prose throughout the Western world, producing many vital human documents that are still pertinent. The year 1848, in which Europe was wracked by political upheaval, marked the flood tide of romanticism in Italy, Austria, Germany, and France. 

Lord Byron and Percy Bysshe Shelley, who for some most typify the romantic poet in their personal lives as well as in their work, wrote against social and political wrongs and in defense of the struggles for liberty in Italy and Greece.  The general romantic dissatisfaction with the organization of society was often channeled into specific criticism of urban society.  Rousseau had written that people were born free but that everywhere civilization put them in chains. This feeling of oppression was frequently expressed in poetry—for example, in the work of English visionary William Blake, writing in the poem “Milton” (about 1804-1808) of the “dark Satanic mills” that were beginning to deface the English countryside; or in Wordsworth's long poem The Prelude (1850), which speaks of “... the close and overcrowded haunts/Of cities, where the human heart is sick.”

Nature

Basic to such sentiments was an interest central to the romantic movement: the concern with nature and natural surroundings. Delight in unspoiled scenery and in the innocent life of rural dwellers is perhaps first recognizable as a literary theme in such a work as “The Seasons” (1726-1730), by Scottish poet James Thomson. It was a formative influence on later English romantic poetry and on the nature tradition represented in English literature, most notably by Wordsworth. Often combined with this feeling for rural life is a generalized romantic melancholy, a sense that change is imminent and that a way of life is being threatened. The melancholic strain later developed as a separate theme, as in “Ode on Melancholy” (1820) by John Keats.

Exotic  

In the spirit of their new freedom, romantic writers in all cultures expanded their imaginary horizons spatially and chronologically. They turned back to the Middle Ages (5th century to 15th century) for themes and settings and chose locales as can be seen in the Asian setting of Xanadu evoked by Samuel Taylor Coleridge in his unfinished lyric “Kubla Khan.”

Supernatural

The trend toward the irrational and the supernatural was an important component of English and German romantic literature. It was reinforced on the one hand by disillusion with 18th-century rationalism and on the other by the rediscovery of a body of folktales and ballads.

British Romantic Era Poets

Some of the major British poets during the Romantic era include William Blake, Percy Bysshe Shelley, John Keats, Samuel Taylor Coleridge, and Lord Byron.

SENSE AND SENSIBILITY by Jane Austen.

 Topic :-

           "Sense and Sensibility" by Jane Austen. 

1) Introduction:-

"Sense and Sensibility" is a novel written by Jane Austen and published in 1811. Set in the early 19th century, the novel follows the lives and romantic entanglements of the Dashwood sisters, Elinor and Marianne, as they navigate the societal expectations, financial challenges, and matters of the heart.

The title, "Sense and Sensibility," reflects the contrasting personalities of the two sisters. Elinor Dashwood embodies sense, representing practicality, restraint, and a rational approach to life. On the other hand, Marianne Dashwood embodies sensibility, characterized by passion, emotion, and a more spontaneous nature.

The novel explores themes such as love, social class, and the role of women in a society where marriage often determined a woman's future. Austen's sharp wit and keen observations of human behavior are evident throughout the narrative, making "Sense and Sensibility" a classic work of literature that continues to captivate readers with its timeless portrayal of relationships and societal norms.

2) Summary:-

"Sense and Sensibility" by Jane Austen revolves around the lives of the Dashwood sisters, Elinor and Marianne, as they navigate the challenges of love, societal expectations, and financial uncertainties.

1. **The Dashwood Family:** The novel begins with the death of Mr. Dashwood, leaving his second wife, Mrs. Dashwood, and their three daughters – Elinor, Marianne, and Margaret – in a precarious financial situation. The family is forced to move to a more modest residence, Barton Cottage, on the generosity of a distant relative.

2. **Contrasting Personalities:** Elinor Dashwood is characterized by "sense," displaying practicality and a composed demeanor. Marianne, in contrast, embodies "sensibility," with her passionate and emotional nature. The sisters' differing approaches to life and love become central to the story.

3. **Romantic Entanglements:** Elinor develops an affection for Edward Ferrars, a reserved and seemingly unattainable young man. Marianne falls deeply in love with the dashing and romantic John Willoughby. However, both sisters face obstacles and heartbreak in their pursuit of happiness.

4. **Social Expectations:** The novel explores the constraints of societal norms, particularly regarding marriage and class. The Dashwood sisters must navigate a world where financial stability and social standing play significant roles in romantic relationships.

5. **Heartbreak and Resilience:** Marianne's impulsive pursuit of love results in heartbreak when Willoughby's true character is revealed. Elinor, facing her own challenges, maintains her composure despite the emotional turmoil. Both sisters demonstrate resilience in the face of adversity.

6. **Resolution:** Ultimately, Elinor finds happiness with Edward Ferrars, whose circumstances become more favorable. Marianne, after a period of reflection, discovers a deeper and more mature love with Colonel Brandon, a character initially overlooked.

Through its exploration of love, societal expectations, and the balance between reason and emotion, "Sense and Sensibility" showcases Jane Austen's keen understanding of human nature and her ability to craft a story that remains relevant and engaging across generations.

3) Critical analysis :-

"Sense and Sensibility" by Jane Austen is a novel that delves into the nuances of human character, societal norms, and the complexities of love. Here's a critical analysis of some key aspects:

1. **Satirical Social Commentary:**

   - Austen employs sharp satire to critique the social norms of her time. The novel scrutinizes the rigid class structure, the emphasis on wealth and status, and the limitations placed on women, particularly in the context of marriage.

2. **Characterization:**

   - The characters in "Sense and Sensibility" are meticulously crafted to represent different facets of human nature. Elinor embodies prudence and rationality, navigating the challenges with poise. Marianne, on the other hand, represents romantic idealism and emotional impulsiveness. The contrast between the sisters serves as a lens through which Austen explores the balance between sense and sensibility.

3. **Exploration of Gender Roles:**

   - Austen challenges traditional gender roles, portraying her female characters as complex individuals with intellect and agency. Elinor, in particular, defies stereotypes of the passive and emotional woman, showcasing strength and resilience in the face of adversity.

4. **Irony and Humor:**

   - Austen's use of irony and humor is evident throughout the narrative. The gap between appearance and reality, especially in romantic relationships, is a recurring theme. The characters often find themselves in ironic situations, highlighting the discrepancy between societal expectations and individual desires.

5. **Love and Marriage:**

   - The novel scrutinizes the institution of marriage, revealing the economic and social considerations that often govern romantic unions. Marriages based on genuine affection, such as Elinor's with Edward Ferrars and Marianne's with Colonel Brandon, are contrasted with those motivated by financial gain, as seen in Lucy Steele's marriage to Robert Ferrars.

6. **Evolution of Characters:**

   - The characters undergo significant development and growth throughout the novel. Marianne's transformation from impulsive romanticism to a more measured understanding of love is a central theme. Elinor's resilience in the face of personal disappointment showcases her maturity and strength.

7. **Narrative Style:**

   - Austen's narrative style is characterized by free indirect discourse, allowing readers access to the thoughts and feelings of the characters. This technique provides insight into the characters' motivations and perspectives, fostering a deeper connection between the reader and the narrative.

In "Sense and Sensibility," Jane Austen's mastery lies not only in her storytelling but also in her ability to use wit, irony, and keen observation to critique the societal norms of her time. The novel's enduring appeal lies in its timeless exploration of human nature and the intricacies of relationships.

THE SECRET SHARER by Joseph Conrad.

 " The Secret Sharer " by Joseph Conrad. 

1) Introduction:

"The Secret Sharer" is a short story written by Joseph Conrad and first published in 1910. It is considered as one of Conrad's most famous and highly regarded works. The story revolves around a young sea captain who harbors a fugitive onboard his ship and explores themes of self-discovery, duality, and identity.

2) Summary:

The protagonist, an unnamed young sea captain, is feeling isolated and disconnected from his crew on a ship in the Gulf of Siam. One night, he discovers a naked man clinging to the side of the ship, who introduces himself as Leggatt, the chief mate of another ship that has sunk. Sensing a connection with Leggatt, the captain decides to hide him in his own cabin.

The captain faces several challenges in concealing Leggatt's presence, such as the curiosity of the crew and the constant fear of discovery. Throughout the story, the captain develops a strong bond with Leggatt, who becomes his "secret sharer." They confide in each other and share their fears and desires.

Eventually, the captain manages to safely transfer Leggatt to a nearby island, and they part ways on friendly terms. The experience leads the captain to reflect on his own identity and sense of self, as well as the complexities of human relationships and the nature of authority.

3) Critical Analysis:

"The Secret Sharer" is often interpreted as an exploration of Conrad's recurring themes of isolation, duality, and moral conflicts. The captain's secluded cabin serves as a metaphorical space where he confronts his own hidden desires and fears through the presence of Leggatt.

One prominent theme in the story is the duality of human nature. The captain is torn between his duty as a captain to turn in Leggatt and his empathy towards him. The secret relationship between the two men symbolizes the captain's struggle to reconcile his own conflicting impulses and desires.

Conrad's writing style in "The Secret Sharer" is known for its psychological depth and introspection. The story is narrated in the first person, allowing readers to delve into the captain's inner thoughts and emotions. This introspective narrative style adds to the psychological tension and creates an intimate connection between the protagonist and the reader.

Moreover, "The Secret Sharer" can also be seen as a commentary on the exercise of power and authority. The captain's decisive actions, while risking his position as captain, reveal his ability to assert power and maintain control. The story explores the delicate balance between authority and personal integrity, emphasizing the importance of moral judgment and self-discovery.

In conclusion, "The Secret Sharer" is a captivating and thought-provoking short story that delves into themes of identity, duality, and the complexities of human relationships. Conrad's skillful writing style and nuanced exploration of psychological depth make it a timeless literary work.

A TALE OF TWO CITIES by Charles Dickens

 "A Tale of Two Cities" is a novel written by Charles Dickens, published in 1859.

It is set in London and Paris before and during the French Revolution and explores themes of resurrection, sacrifice, and social injustice. Here is a detailed critical analysis of the novel:

1. Historical Context: Dickens uses the French Revolution as a backdrop to explore the consequences of social inequality and political unrest. He contrasts the turbulent events in Paris with the relatively stable, albeit imperfect, society in London.

2. Characters: The novel features a rich array of characters, including Charles Darnay, Sydney Carton, and Madame Defarge. Darnay and Carton's intertwined fates illustrate the theme of sacrifice, while Madame Defarge embodies the vengeful side of the revolution.

3. Foreshadowing: Dickens employs foreshadowing throughout the novel to create suspense and anticipation. The famous opening line, "It was the best of times, it was the worst of times," sets the tone for the novel's contrasting themes.

4. Symbolism: The novel is filled with symbols, such as the wine spilled in the streets symbolizing the bloodshed of the revolution. The "golden thread" represents the enduring love between characters.

5. Irony: Dickens uses irony to comment on the absurdities of the time. For example, the aristocracy's frivolous lifestyle contrasts with the suffering of the masses.

6. Social Critique: Dickens criticizes the social injustices of both England and France. He condemns the brutality of the ruling class in France and the callousness of the English aristocracy.

7. Resurrection: The theme of resurrection is central to the novel, as several characters experience personal and spiritual rebirth. Sydney Carton's ultimate sacrifice for love and redemption is a powerful example.

8. Narrative Style: The novel uses a third-person omniscient narrator, allowing the reader insight into the thoughts and feelings of various characters.

9. Structure: The novel is divided into three books, each with its own distinct style and tone. This structural choice mirrors the progression of the plot from calm to chaos.

10. Literary Techniques: Dickens employs vivid imagery, humor, and a mix of genres (romance, historical fiction, and social commentary) to engage readers and convey his message.

In summary, "A Tale of Two Cities" is a classic novel that delves into themes of social injustice, sacrifice, and resurrection against the backdrop of the French Revolution. Dickens' skillful use of literary techniques and memorable characters makes it a timeless work of literature that continues to resonate with readers today.

UGC NET 2019 English Literature Syllabus

UGC NET English Syllabus

Unit –I : Drama

Unit –II : Poetry

Unit –III : Fiction, short story

Unit –IV : Non-Fictional Prose

NOTE: The first four units must also be tested through comprehension passages to assess critical

reading, critical thinking and writing skills. These four units will cover all literatures in English.

Unit –V : Language: Basic concepts, theories and pedagogy. English in Use.

Unit –VI : English in India: history, evolution and futures

Unit –VII : Cultural Studies

Unit –VIII : Literary Criticism

Unit –IX : Literary Theory post World War II

Unit –X : Research Methods and Materials in English

UNIT I – Drama Content

DRAMA CONTENT

1.      Introduction

1.      Forms of Drama

2.      Medieval Drama

3.      Mystery play

2.      The Second Shepherds’ Play

1.      Miracle play

2.      Morality plays

f.     Hrotsvitha

1.      Everyman – Play

1.      Mummers Play

2.      Greek Drama

2.      Mimesis

1.      Roman drama

2.      Elizabethan and Jacobian Drama

3.      Elizabethan Drama Features

4.      English theatres

5.      Playing companies

6.      Elizebethan Playwrights:

k.    Restoration Drama

a.    Restoration Drama Characteristics

2.      Aristophanes (446 BC – 386 BC)

3.      The Clouds

4.      Euripides (c. 480 – c. 406 BC)

5.      Electra

6.      Sophocles (497/6 – 406/5 BC)

1.      Ajax

2.      Antigone

3.      Women of Trachis

4.      Oedipus at Colonus

5.      Electra

f.     Philoctetes

1.      Oedipus Rex, or Oedipus Tyrannus or Oedipus the King

2.      Oedipus The King

5.      Aeschylus (524 – 456/455)

i.    Agamemnon

ii.    The Libation Bearers

iii.    The Eumenides

iv.    The Persians

v.    Seven Against Thebes

vi.    The Suppliants

§  Oresteia

§  Proteus

1.      Prometheus Bound

a.    Electra (Euripides play)

1.      Medea

2.      Orestes

3.      Hippolytus

4.      Herakles

5.      The Trojan Women

6.      John Heywood – (1497 – 1580)

1.      A Play of Four “P” S

2.      A Woman Killed with Kindness

7.      Nicholas Udall – (1504 – 1556)

8.      Roister Doister

9.      Thomas Norton (1532 – 1584)

10.  Thomas Sackville (1536 –1608)

11.  Gorboduc or Ferrex and Porrex

12.  John Still – (1543 – 1607/8)

13.  Gammer Gurton’s Needle.

14.  John Lyly  (1553 or 1554 – 1606)

15.  Euphues: The Anatomy of Wyt

16.  George Peele (1556 – 1596)

1.      The Arraignment of Paris

2.      The Famous Chronicle of King Edward the First

c.    The Old Wives’ Tale

d.    The Battle of Alcazar

e.    David and Bethsabe

1.      The Troublesome Reign of King John

13.  Robert Greene – ( 1558 – 1592)

14.  Thomas Kyd. (1558 – 1594)

15.  The Spanish Tragedy

16.  Thomas Lodge -(1558 – 1625)

17.  The Wounds of Civil War

18.  Francis Beaumont (1584 – 1616)

19.  George Chapman- (1559 – 1634)

a.    Bussy D’Ambois

b.    The Conspiracy and Tragedy of Charles, Duke of Byron

1.      The Tragedy of Chabot, Admiral of France

2.      Caesar and Pompey

e.    The Memorable Masque of the Middle Temple and Lincoln’s Inn

18.  Christopher Marlowe (1564 – 1593)

1.      University Wits

2.      Doctor Faustus

3.      The Jew of Malta

4.      Taburlaine

5.      Edward II

6.      Dido, Queen of Carthage

19.  Thomas Nashe (1567 – 1601)

1.      The Unfortunate Traveller: or, the Life of Jack Wilton

2.      Summer’s Last Will and Testament

20.  Thomas Heywood (1570 – 1641)

21.  A Woman Killed with Kindness

22.  John Fletcher- (1579 – 1625)

23.  John Webster Webster  (1580 – 1634)

1.      The Duchess of Malfi

2.      The White Devil

22. Thomas Middleton (1580 – 1627)

a.    The Revenger’s Tragedy

b.    A Game at Chess

c.    The Changeling

23.  John Ford  (1586 – 1639)

24.  ‘Tis Pity She’s a Whore

25.  George Villiers, 2nd Duke of Buckingham (1592 – 1628)

26.  John Dryden (1631 – 1700)

a.    The Indian Queen

b.    The Indian Emperour

c.    The Tempest (Dryden and D’Avenant play)

d.    The Mistaken Husband

e.    The Mistaken Husband

1.      The State of Innocence

2.      All for Love

26.  Sir George Etherege(1636 – 1692)

27.  The Man of Mode

26. Sir Charles Sedley, 5th Baronet (1639 – 1701)

27. Aphra Behn (1640 – 1689)

28. George Farquhar(1677 – 1707)

a.    The Recruiting Officer

1.      The Beaux’ Stratagem

29.  William Wycherley (1641 – 1716)

a.    The Country Wife

1.      William Congreve

2.      The Way of The World

d.    The Old Bachelor

e.    The Double Dealer

f.     The Mourning Bride

1.      Love for Love

30. Thomas Shadwell (1642 – 1692)

31.  Thomas Otway (1652 – 1685)

a.    Venice Preserv’d

1.      The Orphan

32.  Nathaniel Lee (1653 – 1692)

a.    Oedipus

1.      The Rival Queens

33.  Sir John Vanbrugh (1664 – 1726)

a.    The Relapse

1.      Sequel: The Relapse

c.    The Provoked Wife

1.      Kit-Cat Club

34.  Colley Cibber (1671 – 1757)

35.  Love’s Last Shift

36.  Joseph Addison (1672 – 1719)

37.  Cato

36. Oliver Goldsmith (1728 – 1774)

c.    She stoops to conquer

37.  Johann Wolfgang von Goethe (1749 -1832)

38.  Faust

39.  Richard Brinsley Butler Sheridan (1751 – 1816)

1.      The school for scandal

2.      The Rivals

3.      A Trip to Scarborough

40.  Friedrich Schiller (1759 – 1805)

41.  William Tell

42.  Henrik Ibsen (1828 – 1906)

43.  A Doll’s House

41. Lady Gregory (1852 – 1932)

a.    Cathleen ni Houlihan

b.    The Rising of the Moon

c.    Spreading the News

42.  Oscar Wilde (1854 – 1900)

a.    Salomé

1.      Lady Windermere’s Fan

2.      A Woman of No Importance

3.      An Ideal Husband

4.      The Importance of Being Earnest

43.  George Bernard Shaw (1856 – 1950)

1.      Widowers’ Houses

2.      Man and Superman

3.      The Dark Lady of the Sonnets

d.    Don Juan in Hell

1.      Pygmalion

44. Anton Chekhov (1860 – 1904)

1.      The Seagull

b.    The Cherry Orchard

45.  John Masefield (1878 – 1967)

46.  M Barrie (1860 – 1937)

a.    Mary Rose

b.    Peter and Wendy

47.  Rabindranath Tagore (1861 – 1941)

1.      Mukta Dhara

2.      Girish Raghunath Karnad

3.      Tughlaq

4.      Larins Sahib

48. W. B. Yeats (1865 – 1939)

a.    At the Hawk’s Well

b.    Diarmuid and Grania

c.    On Baile’s Strand

d.    Purgatory

e.    The Land of Heart’s Desire

f.     Cathleen ni Houlihan

g.    The Countess Cathleen

h.    Mosada

49.  Joe Orton (1933 – 1967)

50.  John Galsworthy (1867 – 1933)

1.      Harley Granville-Barker

2.      The Madras Hous

51. Luigi Pirandello (1867 – 1936)

a.    Six Characters in Search of an Author

52.  Sean O’Casey (1880 -1964)

53.  Juno and the Paycock

54.  James Joyce (1882 – 1941)

55.  Exiles

54. Nikos Kazantzakis(1883 – 1957)

d.    Buddha

55.  Eugene O’Neill(1888 – 1953)

a.    The Hairy Ape

1.      The Great God Brown

2.      Death of a Salesman

56.  John Arden ( 1930 – 2012)

57.  Bertolt Brecht (1898 – 1956)

58.  Mother Courage and Her Children

59.  Herbert Ernest Bates (1905 – 1974)

60.  Harold Pinter(1930 – 2008)

1.      The Birthday Party

2.      The Homecoming

1.      The Caretaker

1.      The Room

2.      No Man’s Land

3.      One for the Road

60. Henry Livings(1929 – 1998)

61. Samuel Beckett (1906 – 1989)

a.    Krapp’s Last Tape

b.    Happy Days

c.    Waiting for Godot

d.    Endgame

62. Christopher Fry (1907 – 2005)

a.    The Lady’s Not for Burning

b.    Ring Round the Moon

63.  Eugène Ionesco ( 1909 – 1994)

a.    The Chairs

1.      The Irish Dramatic Movement

64. Tennessee Williams(1911 – 1983)

a.    The Glass Menagerie

b.    A Streetcar Named Desire

65. Terence Rattigan (1911 – 1977)

a.    John Whiting(1917 – 1963)

66. Norman Frederick “N. F.” Simpson  (1919 – 2011)

67. Brendan Behan (1923 – 1964)

68. Badal Sarkar (1925 – 2011)

1.      Ebang Indrajit

2.      Evam Indrajit

c.    Pagla Ghoda

69. Asif Currimbhoy (1928 – 1994)

a.    Inquilab

70.  Edward Albee (1928 – 2016)

a.    The American Dream

b.    Who’s Afraid of Virginia Woolf?

71.  John James Osborne (1929 – 1994)

72.  Look Back in Anger

73.  Sir Arnold Wesker ( 1932 – 2016)

1.      Chicken Soup with Barley

2.      Roots

74.  Akinwande Oluwole Soyinka (1934)

75.  The Lion and the Jewel

74. Caryl Churchill (1938)

b.    Top Girls

75. Shelagh Delaney (1938 – 2011)

a.    A Taste of Honey

76.  Tom Stoppard (1937)

1.      Rosencrantz and Guildenstern

b.    Jumpers

c.    Travesties

d.    Rough Crossing

e.    Arcadia

f.     Indian Ink

g.    The Invention of Love

1.      The Hard Problem

77. Mahesh Dattani (1958)

a.    Final Solutions

78.  Douglas Stewart (1963 – 1985)

79.  Ned Kelly

UNIT II – Poetry

POETRY

UGC NET English

1.      Horace

2.      Ars Poetica

3.      Dante Alighier(1265 – 1321)

1.      The Divine Comedy

4.      John Gower (1330 – 1408)

1.      Confessio Amantis

5.      William Langland (1332 – 1386)

1.      Piers Plowman

6.      Chaucer (1343 – 1400)

1.      Troilus and Criseyde:

2.      The Book of the Duchess:

3.      The Parliament of Fowls

4.      The House of Fame

5.      The Legend of Good Women

6.      The Canterbury Tales

7.      John Heywood (1497 – 1580)

1.      Verse

8.      Thomas Wyatt (1503 -1542)

1.      Wyatt’s poems

2.      “Forget Not Yet”

3.      “The Appeal”

9.      Earl of surrey (1516 -1547)

10.  Edmund Spenser (1552/1553 – 1599)

1.      Farie Queen

2.      Epithalamion

3.      Prothalamion

4.      The Shepherd’s Calendar

5.      Amoretti

6.      Astrophel

7.      Colin Clouts Come Home Againe

11.  Sir Philip Sidney (1554 -1586)

12.  Astrophil and stella

13.  Arcadia

14.  The Spider and The Flie (1556)

1.      Richard Tottel

2.      Tottel’s Miscellany

15.  Robert Greene (1558 – 1592)

16.  George Chapman (1559 -1634)

17.  Christopher Marlowe (1564 – 1593)

1.      Hero and Leander

14. Shakespeare (1564 –1616)

a.    Sonnets

15.  Samuel Purchas (1577 – 1626)

1.      Purchas his Pilgrimage

16.  John Donne (1572 – 1631)

17.  John Donne

18.  Metaphysical Poetry

19.  The Canonization

20.  The Ecstasie

21.  Elegies

22.  Robert Herrick (1591 –1674)

23.  Herbert (1593 – 1633)

1.      “Affliction”

2.      The Pulley

19. Thomas Nash (1593 –1647)

a.    The Choice of Valentines

1.      The Terrors of the Night

2.      Thomas Carew (1595 –1640)

1.      The cavalier poets

3.      John Milton (1608 -1674)

1.      Paradise Lost

2.      Paradise Regained

3.      Samson Agonites

4.      Sir John Suckling (1609 – 1641)

5.      Richard Crashaw (1613 –1649)

6.      Richard Love lace

7.      Abraham Cowley (1618 –1667)

8.      Andrew Marvell (1621 – 1678)

1.      To his Coy Mistress

2.      Garden

9.      Henry Vaughan (1621 – 1695)

10.  Regeneration

27. George Villiers (1628 – 1687)

28.  Dryden (1631 – 1700)

1.      Meckfleck

2.      Absalom and Achitophel

3.      Dryden’ Mac Flecknoe

4.      Religio Laici

5.      A Song for St. Cecilia’s Day

6.      The Hind and the Panther

7.      Mac Flecknoe

29. Sir Charles Sedley, 5th Baronet (1639 – 1701)

30. Thomas Shadwell (1642 –1692)

a.    Jonatham Suift

31.  Alexander Pope Pope (1688 – 1744)

1.      The Epistle to Dr. Arbuthnot

2.      The Rape of the lock

3.      An Essay on Criticism

4.      Pastorals

5.      Discourse on Pastoral Poetry

6.      Dunciad

7.      An Essay on Man

8.      The Imitations of Horace

32.  James Thomson (1700 –1748)

33.  Samuel Johnson (1709–1784)

1.      The Vanity of Human Wishes

34.  Thomas Gray (1716 –1771)

1.      Elegy Written in a Country Churchyard

35.  William Collins (1721 –1759)

36.  Oliver Goldsmith (1728 – 1774)

a.    The Hermit

b.    The Deserted Village

1.      The Traveller

37. Thomas Percy (1729 – 1811)

a.    Reliques of Ancient English Poetry

38.  William Cowper (1731 – 1800)

1.      The task

39.  Thomas Chatterton (1752 – 1770)

40.  William Blake (1757 – 1827)

1.      Songs of Innocence

2.      Songs of Experience

3.      Poison Tree

4.      The Human Abstract

5.      The Clod and the Pebble

6.      The Book of Urizen

7.      The eternal laws of God”

41.  Robert Burns (1759 – 1796)

1.      Tam o’ Shanter

2.      The Jolly Beggar

42.  Wordsworth (1770 – 1850)

43.  Ode : Intimations of Immortality

44.  Tintern Abbey

45.  The Prelude

46.  Daffodiles

47.  Solitary Reaper

48.  Walter scott (1771 – 1832)

a.    The Lady of the Lake (poem)

b.    Scott The Minstrelsy of the Scottish Border

44.  Coleridge (1772 – 1834)

1.      Ode Dejection

2.      Kublakhan

3.      Christophel

4.      The Ancient marriner

5.      Frost at Night

6.      Lyrical Ballads

45.  Robert Southey (1774 – 1843)

46.  Byron (1788 – 1824)

1.      The Prisoner of Chillon

2.      Don Juan

3.      The Vision of Judgment

4.      Beppo: A Venetian Story

47.  B.Shelly (1792 – 1822)

1.      To a Skylark

2.      Queen Mab

3.      Adonis

4.      Ode to west wind

5.      Alastor

6.      Julian and madato

48.  John Clare (1793 – 1864)

49.  John Keats (1795 – 1821)

1.      Ode to Grecian Urn

2.      Ode to autumn

3.      Ode to a Nightingale

4.      Endymion

5.      The Eve of St.Agnes

6.      Hyperion

7.      The Fall of Hyperion

8.      La Belle Dame Sans Merci

9.      Ode on Melancholy

10.  Lamia

11.  “Egotistical sublime”

50.  Elizebeth Brarrett Browning (1806 – 1861)

51.  Connets from Portuguese

52.  Alfred Lord Tennyson (1809 –1892)

1.      The Charge of the Light Brigade -poem

2.      The Defence of Lucknow

3.      The Princess

4.      Ulysses

5.      Maud

6.      Idylls of the King

7.      Tithonus

8.      Morde’ Arthur

i.      Crossing the Bar –published in 1898

1.      “Tithonus”

2.      “Enoch Arden”

3.      Maud, and Other Poems

52.  Robert Browning (1812 –1889)

1.      Andreadel Sarto

2.      My Last Duchess

3.      Rabbi ben Ezra

4.      Men and Women

53. Charles Baudelaire (1821 –1867)

a.    The Flowers of Evil

54.  Matthew Arnold (1822 –1888)

1.      Dover Beach

2.      The scholar Gipsy

3.      Memorial Verses

55.  Dante Gabriel Rossetti (1828 –1882)

1.      The Blessed Damozel

2.      Modern Love

56.  Christina Rossetti (1830 – 1894)

57.  James Thomson (1834 –1882)

1.      TheCity of Dreadful Night

58.  Robert Seymour Bridges (1844 -1930)

59.  Gerard Manley Hopkins (1844 -1889)

1.      Curtal sonnet

b.    “The sonnets of desolation”

c.    The Wreck of the Deutschland

60.  William Ernest Henley (1849 -1903)

1.      “The White Man’s Burden: The United States and the Philippine Islands”

2.      Recessional”

61.  Rudyard Kipling (1865 – 1936)

62.  Easter 1916

63.  Sailing to By Zantum

64.  Byzantium

65.  Vision

66.  Tower

67.  Leda and Swan

68.  B.Yeats (1865 -1939)

63. André Gide (1869 –1951)

64.  M. Forster (1879 –1970)

65.  Wallace Stevens (1879 – 1955)

1.      The Snow man

66.  Harold Hart Crane ( )

1.      Brooklyn Bridge

70. Shri Purohit Swami Shri Purohit Swami (1882 – 1941)

71.  Thomas Stearns Eliot (1888-1965)

a.    The Love Song of J. Alfred Prufrock

b.    The Hollow Men

c.    Ash-Wednesday

d.    Four Quartets

1.      Burnt Norton

2.      old possum’s book

3.      Gerontion

4.      East Coker

5.      The Dry Salvages

6.      Little Gidding

k.    The Waste Land

l.      Whispers of Immortality

72.  Wilfred Owen (1893 -1918)

73.  Michael Roberts (1902 –1948)

74.  Cecil Day Lewis (1904 -1972)

75.  H. Auden (1907-1973)

1.      Paid on Both Sides

2.      The Orators: An English Study

3.      The Auden Groupor the Auden Generation

d.    September 1, 1939 by W. H. Auden

e.    In Memory of W. B. Yeats by W. H. Auden

76.  Sir Stephen Harold Spender (1909 -1995)

77.  Edward Benjamin Britten (1913 – 1976)

1.      Billy Budd–opera

78.  Dylan Marlais Thomas (1914 – 1953)

1.      The New Apocalyptics

2.      Fern Hill

79.  Easter (1916)

1.      Sailing to Byzantium

2.      Rhymers’ Club

3.      A Vision

4.      Lead and Swan

80.  Philip Larkin ( 1922 – 1985 )

81.  Sad steps

82.  Seamus Justin Heaney (1939 – 2013)

83.  Musee des Beaux Arts (1940)

84.  Walter whit man (1819 – 1892)

84.  American Literature

85.  Sylvia Plath(1932 -1963)

1.      Daddy

86.  Allen Ginsberg  (1926 – 1997)

87.  e.e. cummings (1894 – 1962)

1.      The Cambridge ladies

88.  Robert Frost (1874 – 1963)

1.      “Mending Wall”

2.      Birches

3.      West-Running Brook

89.  Emily Dickinson (1830 – 1886)

1.      A something in a Summer’s Day

2.      Bless God, he went as soldier’s

3.      How happy is the little Stone

4.      This is my Letter to The World

5.      It sifts from leaden sieves

6.      Because I could not stop for Death”

90.  Edgar Allan Poe (1809 -1849)

a.    The Haunted Palace

1.      To My Mother

2.      The Lake

90.  Emily Dickinson (1830 – 1886)

91.  A something in a Summer’s Day

92.  Bless God, he went as soldier’s

93.  How happy is the little Stone

94.  This is my Letter to The World.

95.  This is my Letter to The World.

96.  Robert Frost (1874-1963)

97.  Mending Wall

98.  ‘Desert Places‘.

99.  Birches

100.                      West Running Brook.

1.      e.e. cummings (1894 – 1962)

1.      The Cambridge ladies

1.      Harold Hart Crane (1899 -1932)

1.      Brooklyn Bridge

1.      Indian Literature

1.      Tagore

2.      Aurobindo

3.      Sarojini Naidu

4.      Toru Dutt from

5.      K.Ramanujam

6.      Kamala Das

7.      Nissim Ezekiel

8.      Common wealth

9.      Judith Wright

10.  Wole Soyinka

11.  Abioseh Nicoll

12.  D.Hope

e.    Derek Walcott

f.     Omeroos

Fiction & Short Story

1.    Introduction

1.      Types of Novel

2.    Sir Thomas More (1478 –1535)

1.      Utopia

3.      Miguel de Cervantes (1547 – 1616 )

1.      Don Quixote

4.      Sir Francis Bacon(1561 –1626)

1.      New Atlantis

5.      Daniel Defoe (1660 –1731)

1.      Robinson Crusoe

2.      Moll Flanders

6.      Samuel Richardson (1689 –1761)

1.      Pamela; or, Virtue Rewarded

7.      Henry Fielding (1707 –1754)

1.      Tom Jones

b.    Joseph Andrews

c.    Shamela

d.    Amelia

8.      Laurence Sterne (1713 –1768)

1.      Tristram Shandy

9.      Horace Walpole(1717 –1797)

1.      The Castle of Otranto

10.  Oliver Goldsmith(1728 – 1774)

1.      The Vicar of Wakefield

11.  William Godwin (1756 – 1836)

1.      Things as They Are; or The Adventures of Caleb Williams

12.  Ann Radcliffe (1764 –1823)

1.      The Mysteries of Udolpho

13.  Walter scott(1771 – 1832)

1.      Ivanhoe

2.      The Heart of Midlothian

3.      Rob Roy

d.    Waverley

1.      The Bride of Lammermoor

2.      Quentin Durward

3.      Guy Mannering or The Astrologer

4.      The Antiquary

i.      The Black Dwarf

j.      The Monastery

1.      A Romance

2.      The Pirate

m.   The Fortunes of Nigel

1.      Saint Ronan’s Well

2.      Redgauntlet

3.      The Betrothed

4.      The Talisman

5.      Woodstock, or The Cavalier. A Tale of the Year Sixteen Hundred and Fifty-one

6.      The Fair Maid of Perth(or  Valentine’s Day)

7.      Anne of Geierstein, or The Maiden of the Mist

8.      Count Robert of Paris

9.      Castle Dangerous

10.  The Abbot

14.  Jane Austen(1775 – 1817)

1.      Sense and Sensibility

2.      Persuasion

3.      Pride and Prejudice

4.      Northanger Abbey

5.      Emma

6.      Mansfield Park

15.  Benjamin Disraeli (1804 –1881)

16.  Hawthorne 1804-1864

1.      A House of the Seven Gables

17.  Elizabeth Gaskell(1810-1865)

18.  William Makepeace Thackeray(1811 –1863)

1.      Vanity Fair

19.  Charles Dickens(1812 –1870)

1.      Great Expectations

2.      David Copperfield

3.      A Tale of Two Cities

4.      Martin Chuzzlewit

5.      The Pickwick Papers

6.      Hard Times

7.      The Old Curiosity Shop

8.      Bleak House

i.      Racism in the work of Charles Dickens

1.      William Makepeace Thackeray(1811 –1863)

2.      Vanity Fair

20.  Anthony Trollope( 1815 – 1882)

1.      Barchester Towers

21.  Charlotte Bronte(1816 – 1855)

1.      Jane Eyre

22.  Emily Bronte(1818-1848)

1.      Wuthering heights

23.  George Eliot (1819 –1880)

1.      Middle March

2.      Adam Bede

24.  Herman Melville(1819 –1891)

1.      Moby-Dick or The Whale

25. Wilkie Collins (1824 – 1889)

a.    The Moonstone

26.  George Meredith(1828 – 1909)

1.      The Ordeal of Richard Feverel: A History of Father and Son

2.      The Egoist

27.  Leo Tolstoy (1828 –1910)

1.      Anna Karenina

28.  Mark Twain (1835 – 1910)

1.      Adventures of Huckleberry Finn

2.      The Adventures of Tom Sawyer

29.  Samuel Butler (1835 – 1902)

1.      Erewhon

2.      The Way of All Flesh

30.  Thomas Hardy (1840 – 1928)

a.    The Return of the Native

1.      Jude the Obscure

2.      The Mayor of Casterbridge

31.  Henry James (1843-1916)

1.      The lesson of the master

32.  Oscar Wilde (1854-1900)

1.      The Picture of Dorian Gray

33. Joseph Conrad (1857 –1924)

a.    Lord Jim

1.      Heart of Darkness

c.    The Shadow-Line  or The Shadow-Line: A Confession

34.  Herbert George Wells (1866-1946)

1.      Tono-Bungay

35.  John Galsworth(1867 –1933)

36.  Luigi Pirandello(1867 –1936)

1.      The Late Mattia Pascal

2.      One, No One and One Hundred Thousand

37. W. Somerset Maugham(1874-1965)

38.  M.Forster (1879-1970)

39. Kailyard school(1880-1914)

40. Premchand ( 1880 – 1936)

41.  Adeline Virginia Woolf (1882-1941)

1.      To the Lighthouse

2.      Orlando

3.      Dalloway

4.      The Waves

5.      The Voyage Out

42.  James Joyce(1882 – 1941)

1.      Finnegans Wake

2.      Ulysses

3.      A Portrait of the Artist as a Young Man

43. Franz Kafka(1883 –1924)

44.  H. Lawrence (1885-1930)

1.      The last lesson Women in Love

45. Katherine Mansfield (1888 –1923)

46.  Aldous Huxley (1894-1963)

1.      Time Must Have a Stop

47.  Aldous Huxley (1894-1963)

1.      Brave New World

2.      Brave New World Revisited

48.  Ernest Miller Hemingway(1899 –1961)

1.      The Old Man and the Sea

49. Evelyn Waugh (1903 – 1966)

a.    A Handful of Dust

50.  George Orwell ( 1903-1950)

1.      Nineteen Eighty-Four

51.  Henry Graham Greene(1904-1991)

1.      Brighton Rock

2.      The Heart of the Matter

3.      England Made Me

4.      The End of the Affair

5.      The Man Within

f.     The Human Factor

1.      The Power and the Glory

52.  P.Snow (1905- 1980)

1.      Corridors of Power

53.  Mulk Raj Anand(1905 –2004)

1.      Coolie

2.      Untouchable

54.  K. Narayan(1906 – 2001)

55.  Raja Rao (1908-2006)

56.  Sir William Gerald Golding (1911-1993)

57.  Anthony Burgess(1917 –1993)

58. Doris Lessing(1919 –  2013)

59. Alan Sillitoe(1928 –2010)

60.  John Maxwell Coetzee(born 1940)

61.  S. Maniam (born 1942)

62.  Alice Walker (1944)

63.  Nuruddin Farah (1945)

64.  William John Banville(1945),

65.  Alan Hollinghurst (1954)

66.  Sir Kazuo Ishiguro (1954)

64.  Arundhati Roy (1961)

65.  Alain Mabanckou (1966)

66.  Deshpande (1966-2009)

67.  Helon Habila Ngalabak (1967)

68.  Colson Whitehead (1969)

69.  Marlon James (1970)

UNIT IV – Non Fictional Prose

NON FICTIONAL PROSE

1.      John Wycliffe (1320-1384

2.      Myles Coverdale (1488 -1569)

3.      William Tyndale (1494  1536)

4.      Roger Ascham (1515 – 1568)

1.      Toxophilus

2.      The Scholemaster

1.      George Puttenham (1529–1590)

1.      English Bible History

1.      John Lyly  (1553 or 1554 –1606)

2.      Richard Hooker (1554 – 1600)

1.      Of the Lawes of Ecclesiastical Politie

1.      Sir Francis Bacon, 1st Viscount St Alban(1561-1626)

2.      Thomas Middleton (1580 – 1627)

10. Francis Quarles (1592 -1644)

a.    Emblem book

11.  Sir Thomas Browne (1605 – 1682)

1.      Urn Burial

1.      Thomas Browne (1605 – 1682)

1.      Religio Medici(The Religion of a Doctor)

2.      The Garden of Cyrus

1.      John Bunyan (1628 – 1688)

1.      The Pilgrim’s Progress

1.      John Locke (1632 – 1704)

2.      Samuel Pepys (1633 – 1703)

16.  Jonathan Swift (1667 – 1745)

1.      A Tale of a Tub

2.      A Modest Proposal

3.      Drapier’s Letters

4.      Gulliver’s Travels

1.      Joseph Addison (1672 – 1719)

18.  Alexander Pope (1688 – 1744)

1.      Moral Essays

19.  Samuel Richardson (1689 – 1761)

1.      The Countess of Pembroke’s Arcadia

20.  Samuel Johnson (1709 –1784)

1.      Preface to Shakespeare

2.      Lives of the Most Eminent English Poets

1.      Edmund Burke (1729 – 1797)

2.      Edward Gibbon (1737 – 1794)

3.      Thomas Paine (1737 – 1809)

4.      Charles Lamb (1775 – 1834)

1.      Essay – South sea House -by Charles Lamb

2.      Essay – New year’s Eveby Charles Lamb

§  Essay – Christ’s Hospital Five and Thirty Years Agoby Charles Lamb

1.      Essay – Dream-Children; a Reverieby Charles Lamb

2.      Oxford in the vacation

1.      Tales from Shakespeare by Charles and Mary Lamb

2.      “The Praise of Chimney-Sweepers”

3.      My Relations

4.      Mathew Arnold

5.      Culture and Anarchy

6.      Hellenism and Hebraism

1.      William Hazalitt (1778 – 1830)

1.      Table-Talk-Essays on Men and Manners

2.      The Round Table

3.      The Indian Jugglers

4.      My first acquaintance with poets

1.      Shelly (1792 –  1822)

1.      A Defence of Poetry

1.      Thomas Love Peacock (1785 –  1866)

1.      “The Four Ages of Poetry”

1.      Thomas Carlyle (1795 – 1881)

1.      The Hero as Man of Letters

2.      Modern Painters

29. John Ruskin (1819 – 1900)

a.    Unto This Last

b.    Sesame and Lilies

30. Lytton Strachey  (1880 – 1932)

a.    Eminent Victorians

1.      Virginia Woolf (1882 – 1941)

1.      A Room of One’s Own

2.      Professions for Women

3.      The Common Reader

d.    The Modern Essay

e.    The Sun and the Fish

32. Nirad C. Chaudhuri (1897 – 1999)

1.      George Orwel (1903 – 1950),

1.      “Politics and the English Language”

2.      The Road to Wigan Pier

1.      C. P. Snow (1905 – 1980)

1.      The Two Cultures

2.      Rede Lecture

35. Jean Baudrillard (1929 – 2007)

36. Aijaz Ahmad (1932)

Unit –VIII : Literary Criticism

LITERARY CRITICISM CONTENT

1.      Longinus ( c. 213 – 273 AD)

1.      On the Sublime

1.      Aristotle (384 – 322)

2.      Plato (428 / 427 or 424 / 423 – 348/347 BC)

1.      Poetics

1.      Socrates (470 / 469 – 399BC)

1.      Philip Sidney (1554 – 1586)

1.      An Apology for Poetry

1.      John Dryden (1631 – 1700)

1.      Essay of Dramatic Poesy

1.      William Wilberforce (1759 –1833)

2.      Samuel Taylor Coleridge (1772 –  1834)

1.      Biographia Literaria

1.      Leigh Hunt (1784 – 1859)

2.      Shelly (1792 –1822)

1.      A Defence of Poetry

1.      Keats (1795 –  1821)

1.      Letters

1.      Percy Wyndham Lewis  (1882 – 1957)

1.      Arnold

2.      The Function of Criticism at the Present time

3.      The Study of Poetry

13.  Virginia Woolf(1882 – 1941)

1.      Bennet and Mrs.Brown

2.      “Modern Fiction”

1.      Ezra Pound (1885 – 1972)

1.      The ABC of Reading

1.      T.S. Eliot (1888 – 1965)

1.      Traditions and Indivitual Talents

2.      Metaphysical poets

3.      The Sacred Wood

4.      “Hamlet and His Problems”

1.      Charles Kay Ogden (1889 – 1957)

2.      I. A. Richards (1893 –1979)

1.      Practical Criticism

2.      The Four Kinds of Meaning

1.      F. R. Leavis (1895 – 1978)

19.  Allen Tate (1899 –1979)

1.      Tension in Poetry

20.  Lionel Mordecai Trilling  (1905 –1975)

1.      Sense of the Past

21.  1906 William Empson(1906 – 1984)

1.      The Seventh Type of Ambiguity

1.      Cleanth Brooks (1906 – 1994)

1.      Irony as a Principle of Structure

23. Northrop Frye (1912 – 1991)

1.      Critical path

b.    Anatomy of Criticism

c.    The Archetypes of Literature

1.      Wayne C. Booth (1921-1983)

1.      The Rhetoric of fiction

1.      Jacques Derrida Jacques (1930 –2004)

1.      Deconstrction

26.  Helen Hennessy Vendler (1933)