Partition W.H. Auden

This blog task given by Dilip Bard sir. This Thinking Activity of  I.A. Richard figurative Language of poem 

Partition - W.H. Auden 

Unbiased at least he was when he arrived on his mission,

Having never set eyes on the land he was called to partition

Between two peoples fanatically at odds,

With their different diets and incompatible gods.

"Time," they had briefed him in London, "is short. It's too late

For mutual reconciliation or rational debate:

The only solution now lies in separation.

The Viceroy thinks, as you will see from his letter,

That the less you are seen in his company the better,

So we've arranged to provide you with other accommodation.

We can give you four judges, two Moslem and two Hindu,

To consult with, but the final decision must rest with you."

Shut up in a lonely mansion, with police night and day

Patrolling the gardens to keep the assassins away,

He got down to work, to the task of settling the fate

Of millions. The maps at his disposal were out of date

And the Census Returns almost certainly incorrect,

But there was no time to check them, no time to inspect

Contested areas. The weather was frightfully hot,

And a bout of dysentery kept him constantly on the trot,

But in seven weeks it was done, the frontiers decided,

A continent for better or worse divided.

The next day he sailed for England, where he could quickly forget

The case, as a good lawyer must. Return he would not,

Afraid, as he told his Club, that he might get shot.

Summary of poem:

At any rate, Cyril Radcliffe was certainly impartial when he first started his task, seeing as he'd never even been to the region it was his job to divvy up (India) between two cultures (that is, Hindu and Muslim) in the midst of an intense conflict, who ate different food and followed opposing religions. Back in London, the government had told him that time was of the essence; there was no hope of the two sides coming to some kind of understanding or even participating in a reasonable discussion. They'd decided that the only thing to do would be to divide India into two separate countries. The governor believed it'd be best not to be seen with Radcliffe, so they found him somewhere else to stay. They said they'd provide him with two Muslim judges and two Hindu judges to offer some advice, but ultimately he would be the one to decide things.

Locked away in a huge, secluded house under constant guard to protect him from those who might try to kill him, he settled into his task of deciding the future for millions of people. The maps of the region he'd been given were old and there was no way the census records were accurate, but he didn't have enough time to double-check the numbers or examine the places under dispute. The weather was much hotter than he was used to, and a spell of diarrhea kept him running back and forth from the toilet. Still, he completed his project in seven weeks: the boundaries between India and Pakistan were chosen, splitting up a continent.

As soon as he finished he boarded a ship for England and, like any good lawyer, was able to put the whole ordeal out of his mind. He would never go back to the region since he was scared, he told the others in his club, that he'd be killed if he did.

Analys poem : 

W.H. Auden's poem "Partition" critiques the hasty and careless partitioning of India and Pakistan in 1947 by British official Cyril Radcliffe. Auden highlights the indifference and ignorance of colonial powers, emphasizing the devastating consequences for millions of people. The poem uses irony and understatement to criticize the detachment of Radcliffe and others involved, contrasting their privilege with the suffering caused by their actions. It underscores themes of power, irresponsibility, and the human cost of arbitrary political decisions.

Metaphor of poem :

In W.H. Auden's "Partition," the act of dividing India and Pakistan serves as a metaphor for the reckless and impersonal nature of colonial power. The poem highlights how decisions made in detachment, without understanding or empathy, can fracture societies and lives. The partition itself symbolizes the deep scars and divisions imposed on people by distant, indifferent authorities.

Doubt of poem :

encouraging reflection and growth. It highlights doubt's role in keeping the mind curious and questioning, rather than blindly confident.

Vita & Virginia

Discuss some of the views regarding marriage, relationship and the role of society

Relationship with Leonard Woolf

Virginia Woolf's marriage to Leonard Woolf was a partnership of mutual respect and intellectual camaraderie. Leonard was a political theorist, author, and civil servant, and his stable temperament provided a counterbalance to Virginia's emotional and psychological volatility. Together, they founded the Hogarth Press, which became a significant cultural institution, publishing not only Woolf's works but also those of T.S. Eliot, Katherine Mansfield, and Sigmund Freud, among others. Despite their strong partnership, the Woolfs' marriage was unconventional; they reportedly never consummated their relationship, and Leonard was aware of Virginia's romantic relationships with women.

Capture woolf's depressive state sincerity & Genuity

The ability of a film to capture Virginia Woolf's depressive state with sincerity and genuity depends significantly on how the filmmaker chooses to portray her internal struggles and whether they draw from Woolf's writings, personal history, and the broader context of her mental health challenges.

Ultimately, the sincerity and genuity lie in the film's intent and execution. If it approaches Woolf's depression with empathy, grounded in her writings and historical context, it can resonate as authentic, even if it cannot fully replicate the depth of her personal experience.

Who were Virginia Woolf and Vita Sackville-West?

Born in London in 1882, Adeline Virginia Stephen, or “Ginia” as she was affectionately known, had a love for arts and literature running through her family. Her sister Vanessa was an artist, and when they reached adulthood, the two sisters became the heart of an influential intellectual circle known as the Bloomsbury Group, a collective of radical artists, writers and thinkers during the early 20th century. In 1912, Virginia married Leonard Woolf, a politically active left-wing writer and university friend of her brother’s. While Virginia Woolf’s earlier novels, which included Night and Day (1919), Mrs Dalloway (1925) and To the Lighthouse (1927), were not hugely commercially or critically successful during her time, she is today respected as one of the most important writers of the 20th century and a pioneer of “stream of consciousness” writing.

Vita & Virginia depicts the two women meeting at a costume party, at which Sackville-West is immediately entranced by Woolf’s intellect and eloquence. The two women met in December 1922 and grew closer through attending a series of dinner parties together in London. “I simply adore Virginia Woolf, and so would you,” Sackville-West wrote to her husband after their first meetings. “You would fall quite flat before her charm and personality.”

“They came from pretty different places,” says Victoria L. Smith, a professor of English at Texas State University. “That might have provided some of the attraction to Virginia for Vita, certainly. Vita was very attracted to Virginia’s genius.”

What impact did the relationship have on Virginia Woolf’s life?

“Their relationship was very passionate and very sexual, even though initially their sexual relationship was downplayed and even ignored,” says Smith. And while the two women were open about their relationship, it was also during a time when British society was more socially conservative. While male homosexuality in the U.K. was still a criminal offense at the time, there was no equivalent legislation that targeted gay women. However, in 1921, some lawmakers voted to criminalize “sexual acts of gross indecency” between women, although the law was never passed because politicians feared it would encourage women to explore homosexuality.

Smith says their relationship was hugely significant on Woolf, as Sackville-West made her feel appreciated and adored: “Virginia deeply loved Vita, and she was so happy to recognize in Vita that Vita loved and celebrated women.” In the film, Woolf is depicted as finding it initially difficult to be sexually intimate with Sackville-West; some scholars have suggested this hesitation in real life was because Woolf was a survivor of childhood sexual abuse perpetrated by male members of her family. And while Virginia still loved her husband Leonard, he too saw that Vita had a profound impact on his wife’s life, and her work, and he did not object to their relationship.

My Refferance:

https://amp.theguardian.com/books/2021/feb/01/as-a-body-hers-is-perfection-alison-bechdel-on-the-love-letters-of-virginia-woolf-and-vita-sackville-west

Modern Times and The Great Dictator

 This Blog Given By Dilip Barad sir . Movie Screening Activity of 'Modern Time' and 'The Great Dictator'.

Modern Times :

I recently watched Charlie Chaplin’s “Modern Times,” a 1936 comedy about the hardships that come with living in an industrialized world. The movie is entertaining, hilarious, and often considered one of Chaplin’s more critically acclaimed pieces.

Charlie Chaplin is an English actor who, in the early 1900s, rose to fame and popularity in the silent film industry. He became most recognizable through his iconic Tramp character, a social outcast with a kind heart. In “Modern Times,” the Tramp finds himself living amidst poor financial conditions heightened by massive unemployment.

The Tramp character is endearing. Although he makes countless mistakes—like accidentally sending a boat off to sea or getting swallowed by a factory machine—he adds a layer of social commentary.

Despite his good nature, the Tramp always seems to find himself in bad situations. For example, he gets arrested several times throughout this movie, once because he is suspected of being a communist, which is not the case. By having the Tramp be so genuine and likable, it suggests that he is not the problem. Society is.

"Modern Time" has been acclaimed for its innovative film making, physical comedy , and social commentary . it's considered one of Chaplin's greatest achievements and one of the greatest films of all time. 

Modern Times Synopsis 

Charlie is a factory worker in this hectic age - a minor cog in the grinding wheels of industry. His job -mechanically tightening bolts on a moving belt. The monotony of the work drives him beserk. Taken to hospital he soon recovers and is discharged, cautioned to avoid excitement.

Caught in a street riot, he is mistaken for the leader and thrown into a patrol wagon.

Charlie unconsciously thwarts an attempted jailbreak. As a reward he is given a cell with all the comforts of home. But just as he is ready to settle down to a life of ease and contentment in jail, he is pardoned. He then gets a job in a shipyard, but is fired for doing the wrong things at the wrong times. He resolves to return to the comfort and security of jail.

He meets the girl - a gamine of the waterfront. She and her orphaned sisters are about to be taken into custody by the juvenile welfare officers, but she escapes. When she is about to be arrested for stealing food, Charlie attempts to take the blame, without success. He wanders into a cafeteria, orders everything in sight, then informs the manager that he has no money to pay.

On the way to jail he meets the girl again. Together they escape and from then on they are inseparable companions.

Charlie gets a job as night watchman in a department store. His first night on duty is hectic. Burglars invade the store, and Charlie is involved once again with the police, and once more shunted to jail.

Released, he meets the girl who has found herself a job as a cabaret dancer. She gets Charlie a job in the same restaurant as a singing waiter. He proves a huge success. Happiness seems close now, but the juvenile welfare officers have finally tracked the girl down.

They attempt to take her into custody, but Charlie foils them and escapes with the girl. Together they trudge down the lonely road, ready to face whatever the future may bring.

The Great Dictator:

In the autumn of 1938, when the Munich Agreement was being signed in Europe, Charles Chapin was putting the finishing touches to the first draft of a script written in the greatest secrecy. Rumour had it that the creator of the Tramp had decided to make his first talking film. Moreover, it was said that he would be playing the part of a character inspired by Adolf Hitler.

Finally, after the long and painstaking process of revising and then directing, Chaplin presented The Great Dictator in New York on October 15th 1940. The historical circumstances in which he had found himself during those two years were quite extraordinary. His native country, England, had declared war at the beginning of September 1939, but the United States, where he had been living as a permanent resident – but British citizen – since 1913, had resolved to keep out of the conflict that was to bathe the Old Continent in blood.

This struggle in favour of a democratic idea of peace is in itself reason enough for the historian’s interest. Chaplin, however, added to the credits of The Great Dictator the following warning; “Any resemblance between Hynkel the Dictator and the Jewish barber is purely coincidental.” This was a playful way of hinting that what was really at stake was not so much Chaplin’s double role but the tension between him and his twin, the Tramp. Up to now the Little Tramp had conveyed an experience of the world through the language of pantomime, and because he embodied no national identity and spoke no mother tongue, he had touched the hearts of spectators everywhere. His immense success rested on popular acclaim but also on the recognition of intellectuals, especially in France in the 1920s, where many artists and authors praised his genius.

Famous food scene chaplin and jack

Chaplin’s real history was not just the one he was facing up to, but also the one he was recounting by combining the characters of the Tramp and the Jewish barber in the image of the “pariah”.

Reginald Gardiner and Chaplin in The Great Dictator.


My Refferance:

https://amp.theguardian.com/film/1936/jul/14/derekmalcolmscenturyoffilm

War poetry

 The Soldier by Rupert Brooke | Summary, Structure & Analysis

Why did Brooke write "The Soldier"?

Brooke wrote "The Soldier" in part because he too was a soldier on his way to fight in the Great War. He also wrote it to bring comfort to those who lost loved ones abroad and whose bodies were buried on foreign soil.

What techniques are used in "The Soldier" poem?

The poem uses personification to make England itself into a parent who cares deeply for its children. it also uses alliteration towards the end to highlight the happiness and good memories the soldiers carried with them.

What is the tone of the poem "The Soldier"?

The tone of "The Soldier" is very patriotic, as it personified England as a loving parent and extols the virtues of soldiers who bring a piece of England to other lands. The poem is designed to find the dignity in death for soldiers who died in the Great War.

What is the message of the poem "The Soldier"?

The message of "The Soldier" is that burying English soldiers on foreign soil should not be seen as a sad event. Rather, these soldiers brought a piece of England with them.

What type of poem is "The Soldier"?

"The Soldier" is a sonnet. It is not an English sonnet, which was popularized by Shakespeare, but rather it is an Italian sonnet.

''The Soldier'' by Rupert Brooke

''The Soldier'' is a poem written in 1914 by Rupert Brooke. It was published the following year in the book 1914 and Other Poems. The poem was originally written during World War I and features a narrator discussing the practice of burying dead soldiers near the places they died instead of being returned home. Brooke never saw combat in the war, but his poems written during that time made him a popular poet to this day. Brooke died shortly after finishing the poem.

On April 25, 1915, Brooke died of a blood infection from a mosquito bite and was himself buried abroad on the island of Skyros in Greece.

Summary of ''The Soldier''

''The Soldier'' is narrated by a soldier reminiscing about the practice of burying dead soldiers near the places where they were killed. It was not routine to ship soldiers back home during World War I. The narrator is generally agreed to be Brooke himself, though many poems are considered to be narrated by someone other than the writer themselves.

''The Soldier'' Poem Analysis

The Soldier' by Rupert Brooke

Written during the early days of World War I, Rupert Brooke's 'The Soldier', also known as 'Nineteen-Fourteen: The Soldier,' is an expression of patriotism and loss felt by many as a result of the Great War. Since it's a sonnet, Brooke's poem isn't very lengthy, but as you'll see in a moment, it's long enough to convey some very touching and inspiring sentiments

Analysis: Dust to Dust

You've most likely heard the phrase 'Home is where the heart is.' But you've probably never heard someone express the sentiment quite as literally as Brooke did in 'The Soldier.' In his sonnet, the poet ties his entire being, physical and mental, to England, making the two practically inseparable even in death

Many of us are familiar with the concept of 'Ashes to ashes; dust to dust.' This expresses the Judeo-Christian idea that since we're formed from the dust of the Earth, we're bound to return to it in death. In Brooke's thinking, then, since he was 'A dust whom England bore…' his final resting place even in 'some corner of a foreign field' would be 'for ever England.'

Of course, it's not just his physical 'body of England's' that carries with it the presence of the poet's homeland. Brooke asserts that even 'the thoughts by England given' would linger long after his death and recall the many cherished 'sights and sounds' of home. And whether we believe in any notion of the afterlife or not, it's evident from the poem's continued existence that Brooke and the England of his day have achieved some level of immortality.

The Immortal Sonnet

In the minds of many writers, their art is their surest way to immortality, and often this means participating in a literary tradition that's already been immortalized. For Brooke, this meant 'The Soldier' and other poems in his sonnet cycle by the same name already had a leg-up by being written in the tradition of Shakespeare, Spenser, and countless others who've made the sonnet such a timeless staple of English poetry.

✴️The Fear by Wilfrid Wilson Gibson:

The poem presents the fear of death not in its dramatic or heroic moments, but in the quiet, solitary act of dying alone. Unlike the fear of dying in battle, which can be met with courage and resolve, the fear of dying unnoticed and forgotten is a much more personal and intimate one. The speaker's fear is not of the physical act of dying, but of the complete and irreversible oblivion that follows.

This poem is a departure from Gibson's earlier works, which often celebrated the heroism and nobility of the working class. Instead, "The Fear" explores a more existential theme, delving into the universal human fear of death and the desire to be remembered. It reflects the disillusionment and uncertainty that characterized the post-World War I era, when many people were questioning traditional values and beliefs.

The poem's simple, yet effective language and imagery create a sense of starkness and inevitability. The contrast between the speaker's initial bravado and the creeping terror that follows highlights the fragility of human life and the futility of trying to escape the ultimate fate that awaits us all. 

Dulce et Decorum Est: Common Core and The Poetry of War

Introduction

For centuries, the poppy flower has held an association with restoration, sleep, and death: the plant was sacred to both Demeter—in ancient Greece, the flowering weed was used to revitalize the soil—and Hypnos—its seeds were used as both anesthetic and medicine. Red poppies grow in abundance in Asia and Europe including in the County of Flanders in southern Belgium. It was here, in the fields of Flanders, when the flower became the indelible symbol of World War I.

The Second Battle of Ypres started on April 21, 1915 and raged for over a month. Within thirty-five days, over 105,000 men were killed, wounded, or missing. 1 Throughout the battle, Lieutenant Colonel John McRae, a field surgeon with the Canadian artillery, treated the injured from both sides. He would later write: "Seventeen days of Hades! At the end of the first day if anyone had told us we had to spend seventeen days there, we would have folded our hands and said it could not have been done." 2 Included in the list of dead was Alexis Helmer, a close friend and former student of McRae. Helmer fell on May 2, 1915, twelve days into the conflict.

The following day, May 3 rd, McRae allowed himself a few moments to grieve. He sat in the back of an ambulance and began to write, staring out at the makeshift cemetery that had blossomed behind the field hospital. 3 Wild blooms of the blood-red flower adorned the new graveyard. In fifteen short lines, using a tight metrical pattern and paired rhyme scheme, McRae used poetry to grapple with the death of his friend, perhaps in an attempt to memorialize or give meaning to his loss. For almost 100 years, this composition—"In Flanders Fields"—has stood as one of the finest pieces of modern war poetry.

Unfortunately, most contemporary students finish their education with little background in poetry and almost no ability to analyze the genre. Many teachers assume that it is the students who do not like to study poetry and leave it out of their curriculum. Surprisingly, a 2006-2007 educational report found that "older pupils, particularly the more able, enjoyed the intellectual demands poems made and their ability to inspire frequent rereading." 4 In other words, our students want poetry in the classroom; we are the ones keeping it out.

Poetry has been an important part of every civilization and dates back to the earliest of human history. Poetry as an art form is believed to predate the written word. "In many ancient cultures, the poem was used as a way to maintain oral history and transport it across long distances." 6 Most of the surviving ancient texts include the poetry of prayer as well as passion. Because of its use of grammatical and rhythmic patterns, poetry helped people remember and pass down their stories, laws, and history.

This unit is being written for 10 th grade World Literature, though it could be adapted for any level of English. Much of my research looks at the importance of fiction and poetry in an educational system that is pivoting away from those subjects in favor of expository reading and writing. This unit is concurrent to a World History unit of study on World War I.

My Refferance:

https://www.researchgate.net/publication/273695137_Owen's_Dulce_Et_Decorum_Est_and_Performance_Studies

https://en.wikipedia.org/wiki/Wilfrid_Wilson_Gibson

https://www.thoughtco.com/the-soldier-by-rupert-brooke-1221215

Bridge course

 T.S. Eliot criticism - Tradition and Individual Talent 

Eliot concept of Tradition 

1. Overemphasizing The role of Tradition :

Some argue that Eliot's focus on Tradition can lead to neglect of the individual writer's unique contribution.

2. ignoring social and cultura contexs 

Eliot's concept has been criticized for downplaying The empect of social and cultural factors on literary production.

Historical sense

Eliot's concept of Historical sense refer to the ability to perceive the literary past as a living, breathing entity that informs and shapes the present. It involves:

1. Awareness of literary influence:

Recognizing the way in which earlier writer's and works have influenced later ones.

2. Understanding of literary evolution:

Seeing how literary styles, themes, and forms have developed and changed over time.

3. Appreciation of literary context:

Considering the social, cultural, and historical contexts in which literary works were written.

✴️ What is relationship between "Tradition and "individual talent," according T.S. Eliot?

TS Eliot was the most towering and dominating man of letters of the twentieth century. He was a versatile genius who during his long span of productive activity achieved distinction as a poet, playwright journalist and critic. Eliot stands in the long line of poet-critics beginning with Ben Jonson, and including such names as Dryden, Jonson, Coleridge and Matthew Arnold Both from the point of view of the bulk and quality of his critical writings, Eliot is one of the greatest of literary critics of England. Eliot has written more than five hundred critical essays and articles. They have had a far-reaching influence on the course of literary criticism in the country. George Watson rightly says-

Eliot made English criticism look different though not in a simple sense. Impressed by Eliot as a dazzling critic, John Hayward comments:

I can not think of a critic who has been more widely read and discussed in his own life, and not only in English but in almost every language except Russian throughout the civilized world."

Tradition and Individual Talent' is one of the popular essays in literary criticism. The essay may be regarded as an unofficial manifesto of Eliot's critical creed. This is because it contains all those critical principles from which his criticism has been derived ever since. The seeds which have been sown here come to fruit in his subsequent essays. As the little of the essay indicates, it has given much importance to 'tradition' and individual talent The essay is divided into three parts.

According to Eliot, the word 'tradition' is generally regarded as a term of censure. It sounds disagreeable to the English ears. The English praise a poet for those aspects of his work which are individual and original. It is supposed that his chief merits lie in such part. Thus, the English give an undue emphasis on the individuality of the poet. This shows that if they examine the matter critically, they will realise that the best part of a poet's work is that which shows the maximum influence of the writers of the past. To quote Eliot's own words:

Then Eliot considers the value and significance of tradition. According to him, tradition does not mean a blind adherence to the way of the previous generations. It would be a mere slavish imitation. It would be mere repetition of what has already been achieved Tradition in the sense of passive repetition is to be discouraged.

For Eliot, tradition is a matter of much wider significance Tradition, in the true sense of the term can not be inherited. It can be obtained only by hard work This work is the labour of knowing the past writers. It is the critical labour of shifting the good from the bad. It is the labour of knowing what is good and what is useful.

According to Eliot, tradition can be obtained only by those who have a historical sense, and feel that the whole of the literature of Europe, From Rome to his century, forms one continuous literary tradition. He realises that the past exists in the present and that the past and present form one simultaneous order.

This historical sense is the sense of the timeless and the temporal together It is this historical sense which makes a writer traditional A writer with the sense of tradition is fully conscious of his own generation and of his place in the present. But he is also acutely conscious of his relationship with the writers of the past. In short, the sense of tradition implies the following facts

(A) A recognition of the continuity of literature.

(B) A critical judgement as to which of the writers of the past continues to be significant in the present,and

(C) A knowledge of these significant writers obtained through painstaking efforts Thus, tradition represents the accumlated wisdom and experience of ages. So its knowledge is very essential for noble achievements.

Eliot further remarks that no writer has his value and significance in isolation to judge the work of a writer or a poet, we must compare and contrast his work with the work of poets and artists in the past. Such comparison and contrast are essential for forming an idea of the real worth and significance of a new writer and his work. Thus, Eliot's conception of Tradition is 'a dynamic one.

To him, Tradition is not anything fixed and static. It is constantly changing It continuously grows and becomes different from what it is. A writer in the present must seek guidance from the past. He must conform to the literary tradition. Eliot says that the past directs and guides the present

In the same way, the present alters and modifies the past. When a new work of art is created, the whole literary tradition is modified slightly. The relationship between the past and the present is not one-sided. It is a reciprocal relationship. The past directs the present. It is also modified and altered by the present. To quote Eliot:

"The existing monuments form an ideal order among themselves, which is modified by the introduction of the new work of art among them. The existing order is complete before the new work arrives; for order to persist after the supervention of novelty, the whole existing order must be, if ever so slightly.

altered." Thus every great poet like Virgil, Dante or Shakespeare, adds something to the literary tradition out of which the future poetry will be written.

In the opinion of Eliot, the work of a poet in the present is to be compared and contrasted with the works of the past. They should be judged by the standards of the past. But this judgement does not mean determining good or bad it does not mean deciding whether the present work is better or worse than works of the past.

An author in the present is certainly not to be judged by the principles and standards of the past. The comparison is made for knowing the facts about the new work of art It is made for analysis and they better understanding of the new work of art. Moreover, this comparison is reciprocal.

The past helps us to understand the present and the present throws light on the past. It is in this way alone that we can form an idea of how we can shift the traditional from individual elements in a given work of art. Thus, the function of tradition is very typical. It is meaningful. It explains the importance of both tradition and individual talent. In fact, the tradition and the individual talent go hand in hand.

Eliot then explains what he means by a sense of tradition. According to him, the sense of tradition does not mean that the poet should try to know the past as a whole, and take it to be a lump or mass without any discrimination. Such a course is impossible and undesirable. The past must be examined critically Only the significance in it should be acquired. The sense of tradition also does not mean that the poet should know only a few poets who he admires. This is a sign of only to know some immaturity.

The poet also should not be content on the particular age which he likes. This may be delightful but it will not constitute a sense of tradition. Eliot explains that a sense of tradition really means consciousness of the main current. This means that to know the tradition, the poet must judge critically what are the main trends and what are not. He must confine himself to the main trends. He must possess the critical gift in ample measure.

He must also realise that the main literary trends are not determined by the great poets only. Small poets also can be very significant so they should not be neglected. According to Eliot, the poet must realise that art never improves though its material is never the same. The mind of Europe may change.

However, this change does not mean that great writers like Shakespeare and Homer have grown outdated. The great works of art never lose their significance. This is because there is no qualitative improvement in art. There may be a refinement or development but not an improvement.

Finally, Eliot says that it is the duty of the poet to acquire the knowledge of the past and he must continue to acquire the consciousness throughout his career. Such awareness of tradition sharpens poetic sensibility and is indispensable for poetic reaction. Thus, Eliot has expressed his valuable views about tradition. He has given typical meaning to tradition. Eliot is of the view that both individual talent and Tradition are significant but tradition is more important.

My Reference :

1. Eliot's Concept of "Tradition" ? Understand by Historical Sense ?

Eliot, TS. “Tradition and the Individual Talent | The Poetry Foundation.” Poetry Foundation, 12 October 2009, https://www.poetryfoundation.org/articles/69400/tradition-and-the-individual-talent. Accessed 25 December 2024.

2. Relationship Between "Tradition" and T.S. Eliot "individual Talent"

https://en.wikipedia.org/wiki/Tradition_and_the_Individual_Talent

Words of the day 2024|Brain Rot and Manifest

 Brain Rot and Manifest:

- A part of Thinking Activity a part of word of the day 2024 Brain Rot and Manifest.This Activity how Brain Rot releats to constant consumption of online content, ' kakistocracy' 'rule of the wrost in political.& Biology , Brain , Behaviour and' Moral sense'.

01 " Brain rot" by Oxford Dictionary 

What IT Means: "Brain rot" in simple terms means a decline in mental sharpness or focus, often due to overexposure to something unproductive, like excessive social media or mindless activities.

This picture wants to say that internet and artificial intelligence rote the brain -stock illustration.

 

What IT Represents : "Brain rot" is a slang term often used in a figurative or humorous way to describe a situation where someone's mental sharpness or ability to think critically seems to be diminishing. It is not a clinical term but is commonly used in casual conversations.

02 Manifest :To use methods such as visualization and affirmation to help you imagine achieving something you want, in the belief that doing so will make it more likely to happen.”

✴️' Brain rot ' to kakistocracy' what words of the year tell us about 2024 

End-of-the-year lists for films, songs and other aspects of popular culture usually mention the best and worst entries that year and draw heated debates. However, another consistent feature around this time is major English dictionaries and publications’ selections for ‘Word of the Year’, which aim to cover a much wider area – by having a single word representing the year gone by.

It is difficult to pick one word to encapsulate a year, let alone in a language spoken by billions worldwide and across multiple cultures. Collins Dictionary’s pick “Brat”, for instance, comes from a 2024 album from British singer Charli XCX.

(2) Brain, Biology, Behaviour, and 'Moral sense':

Lest Break this down into simple ideas:

1) Brain, Biology, and Behavior

The brain is the control center of our body.

Biology studies how the brain's structure and function affect behavior (how we act, think, and feel).

For example, specific parts of the brain are responsible for emotions, decision-making, and memory.

2) Moral Sense of the Brain

The brain helps us understand right from wrong.

This moral sense is influenced by biology (genes), environment (upbringing, culture), and experiences.

For instance, the prefrontal cortex helps us think about consequences, while emotions from the limbic system guide empathy or guilt.

3) Brain Rot (Figuratively)

“Brain rot” is often used to describe mental decline or unhealthy habits that negatively affect the brain, like overexposure to negative content, stress, or lack of stimulation.

It can disrupt our ability to think clearly, make decisions, or behave ethically.

4) Manifest

Manifest means to show or express something clearly.

When the brain’s biology and moral sense are affected (by brain rot or other issues), this may manifest (appear) in behavior. For example, someone might become less empathetic or make poor decisions.

My Refferance: 

1) Brain to ' kakistocracy', Brain rot oxford dexnory 

-https://indianexpress.com/article/explained/explained-culture/word-year-brain-rot-brat-manifest-meaning-9717614/

2) in Brain, Behaviour, Biology how to connect Brain rot and manifest:

- Sadler-Smith, Eugene. “Before Virtue: Biology, Brain, Behavior, and the ‘Moral Sense.’” Business Ethics Quarterly, vol. 22, no. 2, 2012, pp. 351–76. JSTOR, http://www.jstor.org/stable/23223729. Accessed 13 Dec. 2024.