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Posted By Admin @ Feb 16, 2022
Posted By Admin @ Feb 16, 2022
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There is a finality here that locks the poem into a trajectory it does not have. Further, one expects more scene-setting – perhaps an addition to the first stanza's lists – before the task of commenting on the scene itself. This is an issue of pacing, and whereas it is important in everything from short stories to the abstractions of Wallace Stevens, it's often easier to see it in a poem like this. In short, "Church Going" is long enough to have a plot-like narrative, where pacing is more visible, yet short enough that any disruptions to it can be felt right away.
While the first stanza sets the scene, the second deepens it and pushes for a specific narrative spine. Yet there are some obvious missteps that come too early in the poem. Lines 2 and 3 are utter throwaways ("Someone would know: I don't.") and act as a tangent to the stanza's middle, which is really where the poem churns. The reading of the "large-scale verses", for example, sounds a lot like the narrator's personal curiosity, not some abiding religious faith, while the final line seals this interpretation. Note, however, that one already senses – from the respectful language, the narrator's self-consciousness – this will not devolve to mere agitprop for or against some side.
We can now guess why the narrator wishes to stop at a church where "nothing is going on": the melancholy is deeper there, which is more apropos of his argument. There is no 'what-if’ scenario: Larkin describes a very specific 'when', yet manages to do so without bludgeoning the reader with his secularism. More, a good chunk of the stanza is a collection of well-worded images ("cathedrals chronically on the show", "rent-free to rain and sheep", "Their parchment, plate and pyx in locked cases") rather than the argument itself, thus keeping one's mind piqued by some simple sentences before Larkin builds to more disagreeable ones. This is called rhetoric, and it is just as important as the traditionally 'poetic' stuff such as unconventional language and musicality, inviting biased readers into the fold who might otherwise be turned off by the poem's content.
The narrator’s uncertainty intensifies, as spirituality is invoked even in the dearth of religion, while the stanza’s imagery (“Grass, weedy pavement, brambles, buttress, sky”) nicely parallels the sort of lists that the first two stanzas provided. This also reinforces Larkin’s transition from observation to comment.
More of the same: not bad, exactly, but a re-reading does wear a little thin. The rhetoric still works nicely, but the lists now have an insistence that is damaged by the prosaic writing. Further, given that we've had two 'religious' stanzas and three 'secular' ones prior to any deeper comment, there is an asymmetry the mind wishes to be released from. Yes, the stanza is still necessary for setting up the next transition, but it could have been condensed a bit given that the poem runs a mere 2 pages back-to-back. Still, one can argue that it's saved – at least to a degree – by the stanza's last line: nice, unorthodox use of "representative" (after year another stately pause) that has everything before it leads up to this moment.
Larkin saves all the ‘best’ – that is, most individually memorable – lines for the final stanza. Notice the slight condescension in the first, the poeticisms – from “blent air” to the “meeting” of “compulsions” – of the second, and how the poem’s entirety is pretty much distilled in the third. Yet the narrator pulls back from derision by the fourth, in a sense putting himself into the same category as the believers that he’s been so skeptical of. The effect is similar to a (greater) Countee Cullen poem, “Heritage”, even as it’s less surprising and less technically virtuoso. The final line is a touch too abrupt, even as it nicely recapitulates the narrator’s skepticism: that this aura of wisdom comes from the arbitrary demarcation of death, whereas living is more complicated than either ‘side’ is willing to admit.
The play "Death and the King's Horsemen" by Soyinka is not specifically written with the context of the relation between male and female but each gender has played a vital role in depicting the condition of gender treatment in contemporary western society. The women in the play have been used as a strong representation for keeping their culture and tradition alive. This means that the women are emotionally strong. But meanwhile are being used by the men of the society, rather than were controlled by them.
One of the main female characters of the play "Iyaloja" has depicted the women's gender in its best form. He is the lady of the market or what we can say the mother of the market. She is the strongest female character whose role is to look after the traditions of Yoruba and make sure that everything works perfectly and no tradition should be disturbed. Also, her power can be depicted from her gesture of questioning Elesin right into his face.
In a scene, Elesindemands marry a girl who is basically going to be the daughter-in-law of Iyaloja. But she still agreed to the wish as Elesin is going to be dead as per the tradition and she did not want to do anything which would disturb the tradition of Yoruba. Also, it was the firm belief of the men and the women of Yoruba that serving men like Elesin works for the benefit of the common citizen, and thus Iyalojaagreed to Elesin's condition in order to maintain peace in the society. In the other words, Iyaloja very wisely helped in keeping the traditions of Yoruba.
In another scene, it was evident that the women of Yoruba played a strong character in maintaining the traditions of the place is when Amusa came to arrest Elesin on the orders of the Prince to stop him from committing suicide, the girls around him stopped Amusa. The action was performed to stop Amusa from being a hurdle in completing the tradition of Yoruba. Once again it has been proven that the female at Yoruba worked so hard for making their traditions alive.
The same is seen in the character of Jane Pilking. Though her character is not very strong and she rather lives a poor life of repression by his husband, her concerns towards the Yoruba's tradition are evident when she tried to convince her husband not to go with Amusa and let the event happen.
Though it is seen that women in the play are emotionally strong and have the responsibility of keeping their traditions alive, simultaneously, it is also evident that they are often treated below the men. For example, the behavior of Pilking towards his wife shows that Jane did not have the right to make her points and rather had to do what Pilking says. Also, despite the fact that the girl was already engaged to Iyaloja’s son, she married Elesinas per his wish. Further, Elesin’sdisrespectful action towards the girls in the market depicts the inferiority of the women.
The word barbarian basically means the uncivilized set of people but the meaning of the word has been used with different connotations in the novel "Waiting for the Barbarians" by Coetzee. The whole novel is around the theme of waiting for the attack of the barbarian. At the beginning of the play, it is seen that at the unnamed establishment in Africa, the white people were living under the rule of powerful whites’. On the first visit of Colonel Joll he told the Magistratethat the barbarian is going to attack the place. Throughout the novel barbarian has been used with the meaning of the threat and danger.
Whenever the word barbarian has been used by the colonel, it gave the reader a feeling of the unseen danger which can occur at any time. But the magistrate was of the view that the Colonel’s notion of the attack by barbarians is baseless and nothing is going to happen.
In another scene, the magistrate found a girl in a miserable condition. She belonged to the empire of the barbarian. Magistrate helped that girl and both of them spent some time together, they even shared moments of tenderness. The character of the barbarian girl is very calm and kind, and the reader not even for a second got the feeling of any threat from the scenes of the girl. Over here, the concept of the barbarian is totally contradictory from what it has been presented before. Here, the meaning of the word barbarian changed to peace and love and affection.
But by the end of the play, it again turns to the first connotation of danger and threat. But this meaning was given to Colonel and his people. After they went for an attack on the barbarians and returned defeated, they now had to take shelter and wait for the attack of the barbarians.
It would not be wrong to say that the meaning of the barbarians depends upon an individual’s perception. The way he behaves or treats the barbarians, he would receive the same. So, the concept of the barbarian is meaningless and only the characters of the novel were able to give it the soul or signification according to themselves.
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