1981

(1990

"3 "3
 2000

10-00

Paper used for the ^rMi^^f thfts&Q$k was made available

by the Government oHndtatrt cohcmfewl rate
 1980
1981

to

"ar sroabs*a

eo
Sb|j6

3.

tf

^"555, g*0^ H^g

0)^6 ()

Sl-12.19^1 -3 -3
2

5.

11

12

229
,
sp cSStes* SFOPGO,

(Modernism^
19, 20
 VI

B6[jSbS'on
i
;Sotfoa3l38>^
s^s^tfg
S^^ 6
17,18

So^^SS^
co

(1914-18),

18, 19 fco-spofl^ 20
,
5*0^^57-^0,
S
1910 t

19 S5 ^^8io OsStf, 20
 Vll

19

a Si
 VI11

^SGl_

53-^0
5*0^3
10
(Romanticism) ,

&*
(Nco-Classicism]& ^Rationalism^
RS *)^oa so
(Formalities) ^
^ i

1748^
,
1789 a*

^o (dis-

location) 3eS$o&,

sj

(Freed om) n%
esthetic
(Idealfsmjr^, (A ism)ry
i 7)
 wtf

t)
&&|ax>(iSap 10)
 sSfl^S

19

critical 33 ?5S)^^
realism) ^&g3eJ ('Socialist
 tti

ism

53

t)
68)

1917

53*
 xii

co v

53

tf3fcS8ofoo fis^/66S ^SLiT ^^oS^o) -s?

17
(RatLoiiahsrn)
20 a

oJb i.^^?
^X

) A 3 3 SJ^D^,
 4-
***

!:

CP
D-^

1932^*
fciv

20
 XV

i^o&eo SPC&># &*a*doo

(
Surrealism )

1924
 ivi

SisSo,

Stream of consciousness

. t).
186).

S^ 6rp

17-.18

-33?
:

5J
 XV11

L
[
ic CD

oc
0_)
Csp fco
J _ D
cy^Oj I

L_

S5>1)
(Existentialism,,

5"

i ^

rfo^doo

!9
 XVlll

(Formalism)

* .

S a-tf

t ^
f
pejorative term).
^
(Roman Jacobson)
Victor Shklovsky)
(

a new form comes a new con

^oa (With
tent. Form thus determines content)

Blank

.verse
 XIX

is

So

53fiosy^Co

oef* -rv

D'53'OO'S

^)0^ ^^00 ^OoS^ef 5^^,

KSo^JCPcxii

5Sj*^d> S)&?5 ^oS^bo 3aSS>fc$> gPofi,

53-8

3-0$

S^tfeS
(popular trend)
ia

.-6^0,

1967.
8(560.)

. 1978.

, fc. 1967.

O, 1972.

. "3. o). 1977. ^06." odbesspo' l~l,-fSa5oe6 ,

77

David Craig (Ed.) 1975. Marxists on Literature.

Penjguin B6ok's v
 (thought
pattern)

(Romantic tales')
n s56?6j

efi 1711

(refined Conduct)
tf^S (refined culture) ^ ^tfo sp&^^g 25^o&

(captivating the imagi-

SS^^^ ^SSj'^^^o *"&

tion)/ ^ ^ oefo
<D
^c^So^^oa SSSaSbtfcS ^O'eD
o o
?^a &S
eg'o
305* *o< ^3 ^ o^ x

(Imaginationj,
(feelings) Sx)tf9_c

^ romantic scene n ^6o^s3co c^^T8 tfcS Musings of

the Solitary Stroller (T* ^c^r^ Cfir>^o ^53*
(Biene)
Thomson a*&>?5 axa^b^co (Seasons')

1797 ^ Frederick Schlegel _

Cogitations ^ei^^ S^^cd^. e^ *E3$3 S'o^

(Imagi-*
1

nationV d'^S^o (Emotion )

sSSj^\C& (attitudes) o,

(originality), oS^St fcreationV j^SStf (genius') S^^g^

8
1797 S*

Frederick Schlegel

(Augubt Wilhelm) S^^oS^ ^^ ^6^ 3 ^^ X

(spirit
of the modern art) r?

(Madame Destael)
 i /Lejenre
intime)

sjo^^p
CO

(^Lyrical
So
Ballads)

to the
^^> (return
'
nature
)'

S^S" (Heine]

(Walter
(Stendahl)
on-

(strangeness^
o 5^) fcfioS"!
(^beauty) Peter)
 j (sublime)

(Arthar Lovejoy)
esffe
O
n*
(verbal sign)

'SSJS'
(Gnerson)
Back ground of English Literature ^

(^Lilian Furst^
8
^^jcfi&83o ^ oXsspex) ^sdi 5Pc5o
i^So (1 j ^<^ (Individua-

psm), (2) cs&e^sptfo (Idealism), (8) ^es^^^ So^^S

(creative imagination), (4) ^J^ ^8 i^rS (sub-

jective Perception of
nature), (5) ?S^o<SSb i^^spgo
(Importance of
feeling], (6) ^^ ^^o spdTS'o
(use
of
symbolic imagery)

(Romantic movement)

*' V' n, V
- V-
^CUlSVC
 (1748)
x>
SSCT^

(guild system") &r6,

dtfpoiSg'
A-^ 8 (machine production)
ci as n

(Proletariat)

>5on*

(Superstructure)

(1789)
 %^ (Liberty),

(Equality), ^[srt^o (Fraternity) !_~?)o>

0-33

classical So sSg
(Neo values)
^c^&o, ScoSSo norms
(Aristocratic
*
and SsSpStf
values)

ej 5 jr^o e^2
1 * a
 reaction)iT
Deserted Village, 3" Satanic Mills,
tl> Age of Despair a,"

IS">
(HumanismV ^To^^gsp^o (Aesthe-
S
ticism),
d'cS'
"^3^ 53^(^0
(doctrine of freedom), )tfo

(Atheism)

A esthetic ism) 'v,

SSJ
Impressionism, Dadai^m

(Revivalist)
(temporal aspect)
& &o^
(Adhocism)

(Flight
from Rea

lity) i'g

f Imagination \

35^ g's'&^o^ rv^,

1910

1940 tf& 53sS^a5*tf&o 1>Cb^ e^aoon SP^O> 1909

 (1)

of
(revivalism past)

(Vedism)
SS^^ofi
reo &zr rfSso 3 tfoD-^ ^60^ tftfcSea
g"^^^ (2)

(thought complex)
10

sp^olb ^S

, fieb, if,
 11

sptfo

8
cr8iSc6
e^^pS^g'Sr gg 3* tf S)sSs5o

(Atheism)^ [jSiytfo

SS >, s5o

No

Sr*5 ^CToe^co, ^3^^?^ ^cr^e^ex) (thought

 g&o (1909-10)6* i^rfotf&cxooa c&p^S^8 |J3>oO

ir>Sbtf SsSs^eo
5-e^ag'

1748 e* ^oja^ S5*ab^ s)^o i)fcS'&oa ^ oiT 178

SSO^ofl

^ooi
g (Noble Classes) s:o5p^^i, ti%3o[&
"3

(free
\ farmers)rfo^?^;u
'
EJ
3
a
ofi

1881 S^K^S"^ Empress

Cotton Mills SsS'SS* tfotfa <3 53

o $ a
 1910
X S

IT 3* CO

s^oi
-^ t)L

t^c
co

35

ef

(Handicrafts) o-^o*
eadb^cfeo^a s}ej*c^3 1910
(Cottage Industries) C^CP sSgSS^

1912-1918 J

CD CO
14

5*0^^
17S9

wDo^
First war of Indian

Indepea<Jance)n iS^isi
8
^
1585

1905

19206" a^flS ^^di

aotftf6SrtfgsS)o

3 o r? ff
 )
CO

M
(1909)

Hermit

,
"3 ^) Cf&ra'^a "gS ^0

,
 consciousness

(ugly)
D^tf^ 3*rSj SS^fo
B
oasfo 23^o-ui^

*&>

1797 3s s-o. &tf&o soS*^*ff* {fo^3i^ 110

1910

3 eo <S 0^db sS si<3

sio^S* ^3 aa^^ JSipiao- es&Osi

^o
^^ 060^

o
>& 'o^tfS' i

o
 1 7

estftftfo a* 7*6^

(Elegies^

2
)
13

udiGO
d6i&

V V
"-J-" ^
v',.
 19

fPhilasophical Anarchy)

^^ (Actor),
^cJi)^b&
(Hero)
^ -^a S'SD wS^o (Ego or
8 8
^odJcr> \cfiT a^cxfroS" (jSooa^S ^?& fDominent
Iness) r^ ,

^^0^5 ^^o-j6sSjB3o esodb^a 55^^ex) (objects) &&

T) JT,

^S
(The otherW sSgsSsJ8oJoefc&o&paa |Jod&ft

fThe other^
V y
98x_oSSa)2focfeoa
^*

eooo c^QO s^o^^o ^>^S

sio[6^oo r^^a* ,5^o3?6 (Imagina-
tive 9oeb
object)
 j* (^Pet-Actor)

(objectW

fc^tf

A o^ 70 Love, p'ulobophy
 21

spcOotfio -

^ToStfg

eo^o |jSE3dSoo

*Q2>^ ^
(S>

HP ^Jo "SodS

(Intellectual
& PhUosoph
22

rS>3s-?S!Sao
 28

iSS
L

f
s-Sb u

535^5 .
(Mystic)

feelings sSo

^1 ^3^.Sb
(Akhemy)
 (tragedy)

-\
cJ

S ^i>S)d6

&Eg Malancholy tragedy S

tftfsSb tf^ *>8$J
A-^^g ^orv 0[Qotfcra8

(Extinct Pessimism) [jS^a^efo S'S

(Death wish)
 25

je3 *-^ (Psycho-aaalysis) di^J

^ S> e

2)3

&( (State
of
nature)

is born free but he ib found in chains every

very

sS So
53*tfc
(Flight
frcm Reality) ^& esoeb

53-
 27

S'tf s
(Classicism^

woflotf^S)

B &cyo^ nK

^g ?6o[o3

;5Sa*S

1910 &ofi iSr^^o^^

L_
&&*& 4

Sa3;Nc)o-S)?6

&>

83^
28 es&SS' 3e,

1910 &o<3 1940

A
S5o
d^6)o

1880

HO gb2$S^
ae>

^cr-ofi
 4:^o (Super structre}/
Ci \

si & cS&Egd cbui^o ^Integrated movement^

(Neo classism) S^_r^

^^e,^ ^^tf ^
f Realism
v

3eu/*o

o] ^<?c. c^o
L 8) & o
SO

5P

&33

1934 d

^0^50 (Economic depression')

1940^
1 John B Halstead Romanticism D C Heath &
Co Boston, 1965

2 Lilian R Furst Romanticism Methuen & Co,

London, 1978

,
1957

_, 1958

5 ?6

,
1965

,
1974

7
 So 3

1913

,
1988

, 1988

, 1978

le &

1967
84 es tfbfc^

"
 35

53*
^3 Q^
8?
88

f^orrtf, S'Coo, b, s^^, 330 uS)

 88

&DO&

"Stfto baa ^s^n' S)faoa B CSo

40
S}
42

&

escXo
 46

[j6s*tfo

.X^
ol -

t)Co

tffi^os-fio-
44
 ^&^ lisso ^txy

, 3a_ o^o^^
)
sSfift^bo 3c__ &5<>o
t)
(J)
46 es&asf 3es>to

tf o,

s-SS

s;a T-OO jgo a^&Q aooofl

o-O

0-
HP

*
u-
^53*0^
 i S

(SosStf 53*3,

fl

4)
50

%|tci6

> \
cJ -s
 61

irfotffio e^^
L. M

&3 D
'Y>tfo'5b
(

53
 ^5 3^5

CD CO
'

5-00
 69

5*tfe3
54

O&
^
O cu Q
coD s>d
n

nEP S)

atec-, Ijrag'oj' eso^o

s\

ejpti,
 i
?66ej >cxi3 sios Scpx-SP jSsij^oS HP
gg

S>

fed
 67

Scr-dib
SB

^7-
t>tfcfiog,

efco

ov?
 69

es
CD

'

CO O

8cSfr>So
80

tfS)
 6,

53
 63

tfo fSS&tf 3 SDS'tf sStfSc&cS"8 tfo

a Si) ^^OK) e3rp& SSssS^ S^-\Co

tJco

Sfil
64

53

oL i)
 33*8

53^60

U c

5)
66

1920

i Q
 37

coco

ea

eO
 8
ty.ST -

SS

^ fotfo,

a
 gg

[tfsSglaS<apfi3co
8
wo 5^

SP&O
 a LSo ^

S3.8S

tf ?

5
dQbr?co

oX A ^03 AS3, A
 73

sjos'

3057*0,

IT
(Tribes]

Si/d'eorr*
74

?So& rScjSjy.d'ec S^J^P S Qo^r^) 7^oo,

^fj^ cS
 75

)^
^=D>O(>
tftf ^Sr^S

^
(formalismj ^So^_85

o&DO(3
es?o^ ^^fedi

(1910,1930)

1
*
^^Srr
<"_o<2> Sioei^cei) 1930

&c(3
3 rf
 a|jea

1937
78

o 2ri,

o n

o^a
 ?9

fc I

L eg
ol*

>
ol.

1930

1914 *&*, 1989

B30&
[JS
80

53-830,

SbCf
 foofi" ej*o5

195

0*^00006

(form\
ssol tf gb<?tfc$6 Cfti
L fi

1943

1933

O C/E8 )

6)
8,3

ss

o
Sbfif

'
1923 1936

23^0^6

6^)00*,
 ^j* I s

1943

1943

,
flTg ^gbcx,

o
-r _ lw _ ww _,-_ _^ w_ ty
Ti
84 3eort>
 *
n-6

^oco
rvd'o Saotf&tfb,
86

esodb"! sj<5

So - 1>A
178)

3-3^
ioS

SjS^o^Q (Refl^ction^)

J J
88

19*7, 1948

1 95 9
sophy^S

(Emp iricism

(Logic)

514

^
Q

.
3^^ (1596 1650) T
- -
fojySfts* (1632 1377), fcfiijf (1646 1716) |^sSboaoo
90

propositions, theorems

8X)

fl 3
o_

o 16

3 io^wiexi 5J3

;-
CT
 19 ?

5 ) 5" i liclo'Sr ^p )^,

i
sp?6j,

1859(5^ [jSefiaoa^S 'On the Origin of

Species by Means of Natural Selection

1
^ [tfotfo S^B

55^^- ,
92

"isSoo

^0^8

', fS5o

3S
 CL, 3
*J tj -J

'

^Si o*cS

reason

80^ SS^^M S_sp5 (mental attitude)

authonty) ^S$)^g

w^ Jjoc^)" cT^
"^"^ (plulosoph^
etlvics
^X ( )
650^0^0
 19

oo~eb

1909

21
96
 SfcfiSa

c-cc
93

S'S),

Sjja'eso'

su^S.

c, C'
 "
^oij'^b SJOM2J

n L. &
100

o) c&o&

: if er/ ^
 101

a-Si TStfeS
102
 10S

iS
3 L_

'3

*9c&?S
104

tfo, &

>
 105

i^oo

,
"loijjo
Sofl ^SsS&N ^P^P^<?O^ fcc^Ootfc

S^^SL tfo
(jS^QS,
 .
Q

Q SP

558
 107

?3&p n*
108

e. zy

CP>

es
 109

53

530^3
10

At^o

(Symbolism)

(Rimbandj
rfo esotfcp

^Baudelaire)
correspondences -

(Freud)
Sosjsptfo [_p^ ^i&
c o^ <A c
(subconsciousj
111

d
112

"Surrealism, by its very character, cannot be

progressive Progress belongs to the realm of realities

It is measure of social growth, the growth of a social

order from stature to stature It is matter for stati-

stical or quantitative appraisement It is real, surr-

ealism is unreal It is a device of distortion in the

realm of art"

'SURREALISM 1

1981^ wS'oSS"
(Apollmaire)
(Tristan Tsaraj,
r^c
^Andre Bretonj, (Louis Aragon)s5oe
^infantilism^
V )
 j*&> Automatic writing <3<3 &\3o)<3 <cx>'S

o" o^a

positive ideas

^o (Super-reality)

(?)
Cx,

(Spontaneous

humble - recording - machines

'o^^S
Q

8)
114 <3&3Jf Seorfb

(alienation)

foc^o^o,
 'Down with syllogisms, corolories, Q E D,
cause and effect, the whole and the sum of its

parts' open the gates to the dream, make room for

automatism We are about to see a man as he is, we

shall be whole men, 'unchained', 'delivered',

daring at last to be aware of our desires and daring

"
to fulfill them

SbdS

&*To<2>3
tforfotf*

SooSb,

32
 S

4
LOOTS' 5S$CT>tf &aoo (libido)
S)QR)

6 fe^^No 1)6
cJ

*
8

9 sjfi

-
(Inferiority
Complex
118 esdbSS' 3eori>

^bocr SCPCP

1920

COD OS?

Si^o
 1918

1924 ,

'

^pcr axp
8

IfOO Interpret-
^SosS^^o^ (jSibeoS'S
ation of Dreams^

HP
120

SP

roio ^<3 53 S>33aa, ^ a SP ?oS5o jSoSSj

(chance\ ob]ective automatic

SbDibS, o

3 -?<

sjos*

feelings
 121

*3t) automatic text

sjo,

tf
122

* ^Totftfo

* 5s5
O
tfo
sStftf^tf

(Sotp^ ?b3 ^efio5-^ CT^p&ofi

(198
Fren-h Communist
19.8-40 o

SJ'Q
 128

& 8 a 3
if
SPS^S COT
>

S'S)

S^T* ^^ &>& tf&r\

n*^,
-
cBoa&-Sjo

8
1/553
* S'^ff*

^ ^
 125

55

1930-50
126

CD

1959-75

3eorti>

on-
5630^

1905

fe^SoS*
 j _ /"I CJ

1933-34

r\
rJ

1960

6
eo LJ
PI

do
 Being and nothing less" n

(
Ex stence Precedes
essence)

(An essay on Phenomenolog 1C al

 129

Ontology) a^sS-jftf sj-gSSorT- &>5y "Being and Nothing.

357*

Existentialism So

7 sS ?6

aoo

1968 5SQ Existentialism So

9)
180

3 ^?6o

^^ (nothingj
r?

)o^o^ s11
^) es^SS 4)0^ w^tftf ss
foS^o (subje-
ctive existence) ^S)^

is ?SS)
(Hell others)

Critique of Dialectical reason"

",
^
t?: soi^o
* Ci
cs5" ar ^
n= b'o
 131

Scarcity)
 1>

, otfs*oo

1975 a^

sSr|j^o
s*&

f7

|s3.Q ^Existential Pyscho analysis)^)

ol __. *J
 *
138

of
|j$SSc (stream consiousness)

:-

4
*5P(5"

4t
Words M
4fc M
g'cr? 3eosS3ca 1^6^ S* o3
 Seorib

1972 5* "fceesS," 1975

SfcCsSL&ffl*.
"
(18.6-76)^

<Srdooot7o r?Cb
^
S^fio ^o'c^Esa'^)
SS?*^ L_rfotfo

is literature"

^0(3
e &#<?33tfo 185

"*o"(!$S$a 66),

"
S

a' Ss^orfa oeb

1^00*
136

es **tfS>

3*8

3$9
First person singular^ S'^OD
3^00

1946
189

o^or?

700

o co

^
o
 1S9

SsSoco
"fcg
>5*
140

(bad
tftfoatf ^

sr^ol

etffo

o
_i
o
^o^ah
142

O *

cxu'

c3(TO v3 tfC' "'-J^^.OCULOuU^-j UXjS*v*dL/o/

*- S3 E5
 143

30

(Existential-
istic
anguish')

(alienation)
dfc
144

^PC^ ^aao
[jSsSoifo

es
 146

tffl

10)
146

1965
a, "la*

ssotf
148 ss&kg' 3oD<*b

13

^olG^ex*
S3oSSKi?S)
^<s> U ^.ci,nLSeao Ibo&'&obS),
S^^sStfo I

1980

(1970-80)

C
s

Middle clasb is a class of vacillation

srtfo

2
8

"7

(Inferiority Complex)
*
^s tftfo &
150

Self. Alienation

Escapism
sc

o
 161

>&>Sooij-&

& zv

Si 6
152

Igo Sd5bS^^S Superiority

complex ^j S

Psycho-neurotic S &
Insanity ^

fi t
a-rio

Establish

Readership

'
tf) '5^ Ib3 F^ crcoo
S'Stfjg
o

^, Craftsmanship

d"
 164

8,

Experience &, Feeling

G^ZS "Description of the subject- matter of Psycho
1
logy $ Experience

Extravcrted

Intraverted
 IBB

1
Simple feelings
2 Organic feelings
8 Activity feelings
4 Sentimental and attitude feelings

8^63

*Poetry is Spontaneous overflow of powerful

feelings' & Wordsworth SSspj^ ^6]t!)oa

D
rfb
C
A vent
1

for over charged-feelmgs es^ Kebel

5s wtfcw
156

J
Q
 167

* Q
>0

SJ^^O-Art for Art Sake

^ 'Art
for Art Sake' ^ ^^ *?6^' 65 s^^o C^D^. ^0*0 Vw

'Art has no raoral obli-

gations' 9^) 53 6 |jSatfo

^^Si) *Art concerned with
only beauty, through the Principle of Art for Art
'
Sake ^

*
1873 Walter Pater e5^ otf& History of the

Renaissance e3^ S) r5fe"o a*^8 ^: cs'o^

CO
Modern mani-
festation &

fBaumgarten) ^^^60 1750 &* Aesthetica

Latin 8* tfao^w eJcp^S^^p CT>

^o srcr Aesthetic movement

153

a8sldSjc

iSS

.
.e9ofi6l SboifiB
 160

ss co

-3*23

0*61
L_
&

TcoDO(
160

53

Lyric
 Lyric

KOOS^O'OD ^PCT8 53*^2)^0

11)
 Positive

(Imagery)^ ^_^ sjD

Bco/^b

Transpareat

d&tfo

Liberal
Look
 163

u_C
u a)

^sp^sSDc

Personal rr
5
sj^

,^ Force

^OcT S'StfjJ

Dostoevsky ^odp*^ 'A man always talks from his

own ache

,67^
 530^0 &>tfc

8
1969 ff

'

i'o^db 30^3"*

cor

"

, TV^o^ca, ^00.^0(5,
8 33% 165
[jlSsSoa

II
186

20

12 Siofig SS

12

12

"1914.18

1978-19SO
 III

- tf
16S

s.g' Scac^o Sao^^^ 'Unconscious'

50*7

o^o

fc?6 tftfoatfoSo,

g l
i e
 0^

IV

CD Q

'

^ a.g'

19
Sjos ?6
170

Q B

S'eo etfo

e$ej7?

5-a>|)

2>sr^S>
 ^i

V
ITS

c&

S5o S)
 si 3

S* "S

'Modern Fiction e^ ai-gcSofif*

'Look with in, and life, it seems is very far

from being like this '^^ ^^^ IbgEJVy&sptfo

'Modern Fiction' - Essay b> Virginia Woolf,

Collected Ei \v 3 by Virginia Woolf - volume
11 Page No 106
J74

iS

08*

VI

oL o
1
'Stream of Consciousness es$ d?oA5.

DDdSbS)

'Principles of Psychology'

"Stream of consciousness'

'Stream of consciousness is a muddle headed

phrase Its not a stream Its a pool, a sea, an

ocean It hab depth and greater depth and \\hen

you ttunk you have reached its bottom, there j.g

 176

nothing here and when you give yourself upto one

"4
current, you are suddenly possessed by another

a L
ob ^&^bo(^^ 1941

1947

'Stream of conscious'

"soo
 c3)

e
|jS|8dioSo

VII

5 From *
A Reader's Guide to Great Twentieth Cen-
tury English Novels' by Fedrick R Karl and Maga-
laner Page No 8 "As a social and moral docu-
ment as well as a contained artform, the novel
from Cervantes' 'DON QUIXOTE" through
Joyce's 'ULYSSES' has responded more quickly
and fully to new ideas than any other literary
genre Accordingly the 20th century novel
following the rapid introductions of new modes
of thoughts in psychology, natural science and
sociology has reacted boldly to absorb and
transiorm this material into literary communi-
cati ;ns
 177

jtrK

o &o&>o<2>

25

s^^o" QQflX
Sgg^to

12)
178

VIII

tftfoa^
 179

sj"gaSoS*a
L

J' 8
180

05

a*fc> ^Portrait of an Artist as an young

man

"The artist like God of creation remains within

or behind, or loovc hishandiwork, Invisible refi-
ned out of existence, indifferent paring his fin-
gernails"
 181

IX

(Interior monologue)
182

"60^

^^500

Sp"SS~8^"n

X
3^3^53 si
SP^
 '
tf!)
 e5& -
CD

/Objective Presentation of subjec-

tivity)

^>o"& a,/
S'^ci "lojjJorp
S^^^) 55 SP, ^
 185

"5)8 > I"

ol rJ
186

) L_ CO

1940

^6 S

co

^s

&'

M Con-
8 The Problem of form for Stream of
sciousneoS novelist is the Problem of how order
is unposed on disorder" Robert Humphrey
Stream of Consciousness in Modern Novel
 187

^g [jSsSoQ

'
d&

estf&c&go*
18S

Robert Humphrey Stream. of Consciousness in.

Modern Novel
 CO

'revolut on'

rum,
national calamity,

revolution

[K2ron ^s ^do^b American College

Dictionary,! A Complete overthrow of an established
government or political system, (as
the English
revolution
(1688),
American revolution the
(1715J,
French revolution (1789), or the Chinese revolution

('911),
the Russian revolution
(^1917)
2 A Complete
or marked Change in something

&o<2> Sip^ SSSsspir' 'Human revolution'

Anthropologists
 53^

L. ^
ifl

,
Soo 3* tfS>

^
(jeseo
estfo ^^^^ cr-Sofcrf

es

"

x
6^ i

o L

c, l

loS^ Sj

)2^0 3

^S), ^
tftfoootfo
102

1946 &o 1948

Stf&ea

5*00

s o a

1955
'

AS

,-
 188

co u ^-

SSji c^2

<?!0e 1956 <

s o

1962-64

*Let us play the Indian game Let us split*

1967 8
1969
.
1

,
1970

13)
194 es&l&S' 8e,*o ^p

19YO 3>

1970

1970

,^
CO (p

^^oS

10

7, 8 e^coo^ aroij'cxo Sfl

Vs ^=063^ STcpeo
SXP^O
 195

C3
&&&*
O

g^ "lojjj

3 1947

3#"o<3*
196

-^. ?) &5o 0*620 t;o 310

_ &

3 ao do o<3

15)70
 ,
1971 t>

(1977

Seo 838A3
S 3

1970)

8
S) tf roofiT
198

?o

?oQn

(1973),

(1974),

(1975)
197S

Sip,

eS
tf&esoS*
|jtert5o&eo

o a)

coo
 200

S,

1970

Folk simplicity

tfrfo

efs
 5sSdDo

(1980

__ Q
202

empirical problem &o<5

?o-

53* &

?sSacx)^ 65^

;
&

o
9
 SOS

1970-1980
 I

1-8-1981

^030

^0^6 S"o)(5 '^

 206

modern es^ s
CD

Seu&^a (aoo^)
= Coining 3So, ^X
65^0 "Sod: 8
*^tf>^o' S^<3 1500
EpQ^on 3^3 [S
*"

19

1 3 8* lieriSa) SdSsy 5J"SS^S Ss^^o

(60^0-^0
=
206

5,05

SoS c6o[j5

"

CPU ) aoon
 207

io

(1886j
Ac3u

0*83
208

Iambus

(1880) S'tfESPe.**, ^Sgoo2j 3 d'o S5^5

fs
[no<S^o
 0X^0

rSojjSo-dSi

si S

sria^o
sSQ^ofi 'S^gaoetyJ ^1892)

14)
10
 asS tftfoaieo c6\2i

oXgo
18, 19 5

7i a*

(1387)
^ ^
^ di'io,

Tears of the
Muses' So si3

(1839)
p?^o
2J
s5a
S3
 "6c&

Tennyson 6'Oc^ 'Love

thou thy land* es

- >j o- G "3TP
 Q -

atf,

spfl"S)

-
(1)

Q 2) -
*

(5)
si &

(6)

(9)
214

(10)
3&
sios-

CO SSXJPP
(11)

S&tfj&eo (13)
1
o,

(H)

^^ (1)

(1
ve
drami)
i.tSS) <9^^^ (2)
59^7? 2^0, SsSoo

c3fc!tf88o, ^o*^o oe^ e.S'

(S)

(5)
tftftfrv
 215

v
J <-
c1 300 Son
CO CO CO ofc* CO

(6)

55 ^efdoeSg' &Cb^&a S:o^ |)SSa&<S n fit)

SSo&^tfeso

dfia^S)

* -p
216

OCX)/

(1) (2) f*^

eafi tftfsp
 217

S'o'B fe^Sij- SpdooScp, spaSg'o^, Sftfe,^, ?5sSe>ofr

^c^ rT^ap"?j-3
"5o& cSSco

or? LaS^fi^^
(1)

(cone pt)

(hehivioursj r^, ^ jo si
218

$>oiT> d^SPc^^tf) 'Qualities have been chara

cterized'^^ si 3 3*'
OjJra
S
(2) tftS:>oD$oOr33j i

lSc[jCc5
B
dio

6an
 219

20

Scon 55
220

in^cxo "S^

^ Dictionary of Literary Terms

by Harry Shaw

8 Act cf Creativity
by Arthur Koestler
4

)
 fi)

^^) (content), ^io (form)

a)

o"
 by. Sjofl

oo
93

3
2_oi, -yj,

S*3?tfjr 3cS$33&*&
 ^CX.
osB

sponta-
' "
8
neous r^ ^^^CLbcST
e)
g^flS J^^o

sjpod3 ftStfj

instant

|o S^b w^

.wufr? ivO'^J '

n j o u
224

poet hero

^00

sSSdb}
57^ ^
eo co

5F>6
226

* "

realisation

>v
ft)
 f6o[SS3-JQo

"3

ibi ^bea

, Sol",

o.

iSSt^pr^o "ifioSi* ftio57')e3o

53)^^ )
228

a*

SJ<3 ,&> |

1965

<SrKo3D6"

"0^^006
 trend

Socr, Popular, popularity ^o? sSpd>^ ^a

Popularism r?

70 mm 3tf 3or^ 5?^ g"a2)o)ofl

Popularity a &^c S^
o 50^:5-

Searfb
2SO

Popular ^ -Spd) T
Rev Thomas Davidson
Chamber^ Twentieth Century $&od$ -St

pertaining ^o the people, enjoying the favour of the

f

people t prevailing among the people, easily n under

n r *
i

stood, inferior w ftstfo SJrsofi o"8)

|j6e3co
cojSis

410
CO

PHILLIPPE PETIT

Sb - The
most complete man of his age' & r3
 281

cS tftfcxr- 000- tffl^ *grf2$o,

^30

"

tfosootfo

L.

K
e>
232

o<3 1981

1607

. 812
 33

(New Testament)

cfi

*9<5S'!bo(3

SsScx>

3T> B

Popular "as

upeSj 19SO ?
,
(3

CO

?vS5o

o
18

influerce
 295

ss-tf,

SiS

^Propaganda can make any

thing popular Even death"
-L'c S3 a-

o-ff acS"

n
53=^02, ^r^to o-

cCoesSSr'ctbex)

Jo&e? gTJjo
 237

2,3"

Popular

Popularity^) Sp^dou^ aa^SdJesrSfi, 53^

238

o*^ Obscenity

j^S) *Devme comedy' d^d) a.S' r

Francesca ^"6 !>cSfio& Paolo S

5^8

)^as ^sS

Francesca

Obscenity
 &B so called
oa
"

popular

^coofi

wo

popular s*s6^s5oo"S O^CP unpopular

J^^ ^J^^J&> ^o^^ Sp$)go^ Parti

n* w^^-tD^Sj^o popular

o& Arnold Kettle oxer*

"1 think it essential co insist that a satisfactory use

of the word 'popular' cannot permit of its identifi-

cation with Circulation'* (Dickens and popular tradi-

tion)
D so S sr3-

g'o'S

. _,^
fl OJ

3R>
 241

Soofi

16)
242

popularity, utipopulatity rt*

popular
a T

S-a.g' tricky orgurnent

o
xo

fiDool^^^O

e3^^S$o6^ ^ej-^ (f^oajtf

33(055)3^
244

Fighting

Popularity ^5oD Bertolt Brecht

Popular means intelligible to the broad misses,

taking over their own forms of expression and enri-

ching them, (by adopting and consolidating the r

stand the most progressive section

point) representing
of the people in such a way that it can take over

the leadership