Themes of Whitman's When Lilacs Last in the Dooryard Bloom'd

Democracy As a Way of Life
Whitman envisioned democracy not just as a political system but as a way of experiencing the world. In the early nineteenth century, people still harbored many doubts about whether the United States could survive as a country and about whether democracy could thrive as a political system. To allay those fears and to praise democracy, Whitman tried to be democratic in both life and poetry. He imagined democracy as a way of interpersonal interaction and as a way for individuals to integrate their beliefs into their everyday lives. “Song of Myself” notes that democracy must include all individuals equally, or else it will fail.

In his poetry, Whitman widened the possibilities of Poeticdiction by including slang, colloquialisms, and regional dialects, rather than employing the stiff, erudite language so often found in nineteenth-century verse. Similarly, he broadened the possibilities of subject matter by describing myriad people and places. Like William Wordsworth, Whitman believed that everyday life and everyday people were fit subjects for poetry. Although much of Whitman’s work does not explicitly discuss politics, most of it implicitly deals with democracy: it describes communities of people coming together, and it imagines many voices pouring into a unified whole. For Whitman, democracy was an idea that could and should permeate the world beyond politics, making itself felt in the ways we think, speak, work, fight, and even make art.

The Cycle of Growth and Death
Whitman’s poetry reflects the vitality and growth of the early United States. During the nineteenth century, America expanded at a tremendous rate, and its growth and potential seemed limitless. But sectionalism and the violence of the Civil War threatened to break apart and destroy the boundless possibilities of the United States. As a way of dealing with both the population growth and the massive deaths during the Civil War, Whitman focused on the life cycles of individuals: people are born, they age and reproduce, and they die. Such poems as “When Lilacs Last in the Dooryard Bloom’d” imagine death as an integral part of life. The Speaker of “When Lilacs Last in the Dooryard Bloom’d” realizes that flowers die in the winter, but they rebloom in the springtime, and he vows to mourn his fallen friends every year just as new buds are appearing. Describing the life cycle of nature helped Whitman contextualize the severe injuries and trauma he witnessed during the Civil War—linking death to life helped give the deaths of so many soldiers meaning.

The Beauty of the Individual
Throughout his poetry, Whitman praised the individual. He imagined a democratic nation as a unified whole composed of unique but equal individuals. “Song of Myself” opens in a triumphant paean to the individual: “I celebrate myself, and sing myself” (1). Elsewhere the speaker of that exuberant poem identifies himself as Walt Whitman and claims that, through him, the voices of many will speak. In this way, many individuals make up the individual democracy, a single entity composed of myriad parts. Every voice and every part will carry the same weight within the single democracy—and thus every voice and every individual is equally beautiful. Despite this pluralist view, Whitman still singled out specific individuals for praise in his poetry, particularly Abraham Lincoln. In 1865, Lincoln was assassinated, and Whitman began composing several Elegies, including “O Captain! My Captain!” Although all individuals were beautiful and worthy of praise, some individuals merited their own poems because of their contributions to society and democracy.


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Notes from internet site
https://www.sparknotes.com/poetry/whitman/section7/

Podcast available on YouTube. The link is in bio. 

Summary of Walt Whitman's Passage to India

“Passage to India” by Walt Whitman describes an imaginary journey that a speaker wants to take into fabled India.

Passage to India begins with a description of the new marvel of the modern world and how they are part of God’s plan. These works, the Suez Canal, the great American Railway, and the transatlantic cable allowed men and women to know one another in a new way.

He sees India as a mysterious and fabled place that once visited, will allow a rejuvenation of his soul. He will return to the birthplace of mankind and be renewed for the rest of his life.


The Passage to India is not easy, many have died on the way. That scares the speaker, but not so much so as to deter him from undertaking the voyage. The pull of exploration is like a current running through the human race and he is a part of it and wants to feel the connectivity of the earth. The speaker also takes the time to mourn the downfall of men, like Columbus, who ended their lives unhappily. He imagines that he is on this important journey with his soul and that the two of them are circumnavigating the earth together.

After asking himself if he is ready to go further on his journey, the reply is an eventual yes and he commands the anchor to be lifted. While the voyage might seem like a terrifying one, he is protected by God.
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Notes from https://poemanalysis.com/walt-whitman/passage-to-india/

FREUD AND LITERATURE - Lionel Trilling

Trilling was an American literary critic and teacher who brought psychological, sociological, and philosophical methods and insights into criticism. His critical writings include studies of Matthew Arnold (1939) and E.M. Forster (1943), as well as collections of literary essays: The Liberal Imagination (1950), Beyond Culture: Essays on Literature and Learning (1965).

Trilling maintained an interest in Freud and psychoanalysis throughout his career. However he never based his criticism on any one system of thought. His attitude to criticism was similar to that of Matthew Arnold: (the) “disinterested endeavor to learn and propagate the best that is known and thought in the world.” Therefore, Trilling brought a wide range of ideas and positions to his criticism. He always remained loyal, like E. M. Forster, to the tradition of humanistic thought. His goal was to educate and stimulate the enlightened middle classes.

Nathan Glick writing in the Atlantic Magazine (July 2000) praised Trilling as ‘the Last Great Critic’. Trilling, says Glick, “became in the postwar years and remains today our most influential, most admired, and at the same time most controversial and perplexing literary critic”, “a sorcerer who took no apprentices."

Trilling admired Freud enormously for his recognition of the dark side of life and for his courage in discovering and telling unpalatable truths. He also believed that the great modern writers -- D. H. Lawrence and Franz Kafka, Yeats and Eliot, Joyce and Proust, Mann and Conrad –offered a subversive attitude towards the basic tenets of liberal democracy.  In their works he found the abyss of terrors and mysteries. But Trilling was unhappy that teaching the works of the great moderns under the respectable auspices of a university course simply ‘legitimized and defanged’ the subversive elements.

Trilling’s  "FREUD AND LITERATURE" (1940) is an extract from his The Liberal Imagination: Essays on Literature and Society.

            Trilling believes that Freudian psychology offers a systematic account of the human mind.

Psychoanalytical theory had a great impact on literature. But “the effect of Freud on literature has been no greater than the effect of literature on Freud”. When his 70^th birthday was celebrated, one of the speakers in the meeting described him as “the discoverer of the unconscious”. Freud corrected the speaker and stated: “ The poets and philosophers before me discovered the unconscious. What I discovered was the scientific method by which the unconscious can be studied”.

Next Trilling speaks about the influences on Freud—

Schopenhauer and Nietzsche anticipated his ideas. But Freud did not read their works. It is nothing but the zeitgeist (the direction of thought of that era). Psycho- analysis is the culmination of the spirit of the Romantics. The Romantics thought that science is standing on the shoulders of literature. They believed that literature itself is a scientific search into the self.

The Romantics believed in the hidden thing in the human soul. Blake, Wordsworth and Burke did not believe in the wisdom of mere analytical reason.

Freud’s Contribution to Literature

Trilling speaks about the influence Freud had on literature. Kafka explored Freudian concepts of guilt and punishment. Joyce and Thomas Mann looked at the rational side of Freud who was “committed to the night side of life”.

Freud believed that the aim of psychoanalysis is to consider ‘the night side of life’. It is to make the ego more independent of the superego, to widen its field of vision and so to extend the field of vision and to extend the organization of the id. ‘ Where ‘id’ was’ – that is, where all the irrational, non-logical pleasure seeking dark forces were – ‘there shall ego be’, - that is intelligence and control. It is reclamation work, like the draining of the Zyder Zee.  [Zyder Zee is a shallow bay of the North Sea in Netherlands]

Freud’s Views on Art.

Freud considered art as one of the charms of life. He speaks with admiration about the artists. Writers understood the motives of men.

Yet sometimes he speaks with contempt about art. Art is substitute gratification – an illusion in contrast to reality. But unlike other illusions art is harmless and beneficent that ‘it does not seek to be anything but an illusion’.

Art serves as a narcotic. Freud thinks that artist is in the same category as the neurotic. Freud believed that there are two ways of dealing with reality. The practical and effective way of the conscious self. The antithetical way or the ‘fictional’ way.

“The poet dreams being awake. His subject does not possess him but he has dominion over it. The poet is in command of his fantasy. The neurotic has very little command over it. The artist is not like the neurotic. He knows a way back from his fantasy”. Art has a therapeutic function in releasing mental tension. It promotes the social sharing of highly valued emotional experience. It recalls men to their cultural ideals.

Freud has no desire to encroach upon the autonomy of the artist. The psychiatrist cannot yield to the author. The author cannot yield to the psychiatrist. Laymen may expect too much from psychoanalysis. But it must be remembered that it does not throw light on the two problems that bother him most. It can do nothing towards elucidating the artistic gift. It cannot explain the way in which the artist works. Analytical method can do two things. It can explain the inner meanings of the work of art. It can explain the temperament of the artist.

Ernest Jones and the mystery of Hamlet

Dr. Jones tried to clear the mystery of Hamlet. He believed that Hamlet gives the clue to the workings of Shakespeare’s mind.

Mystery in the play

Why Hamlet did not avenge the murder of his father? What is the secret of the magical appeal of the play?

Jones believes that it is not solely on the impressive thoughts and the splendor of the language. It is something beyond this.

1.Freud says, “the meaning of a dream is its intention”. “The meaning of a drama is its intention”.

2.According to Jones the play is wrapped in a dream like quality. It touched Shakespeare’s personal and moral life. Jones thinks that it shows the playwright’s unconscious attachment to his mother.

We have no quarrel with the assumptions of Jones. But it must be remembered that there is no single meaning to any work of art. Changes in the historical mood and changes in the personal mood change the meaning of a work of art. It makes art a richer thing. The meaning of a work does not lie in the author’s intention. It also does not lie in the effect of the work. The audience partly determines the value of a work. The mystery of Hamlet is not uniform.

More over the elements of art are not limited to art. They reach into life. To find out the mind of the artist is not practical. Jones’s assumption that Hamlet is central to Shakespeare’s character is a purely subjective assessment.

PSYCHO ANALYSIS AND HENRY IV

Dr. Franz Alexander analyses the drama Henry IV. But his attempt is not to solve the problems in the drama but only to illumine it. Prince Hal’s struggle in the drama is seen as the struggle between the ego and the superego. Hal is the ego and Hotspur is the superego. Before conquering the superego, Hotspur, Hal has to conquer his ‘id’ – Falstaff. The ‘id’ is anarchic self-indulgence, seen through the character of Falstaff. Dr. Alexander is not looking for hidden motives in the drama. He simply tries to explain it.

Freud’s achievements

Freud tried to show that poetry is indigenous to the very constitution of the mind. Mind is seen as a poetry-making organ.  Poetry is seen as a method of thought though unreliable and ineffective for conquering reality.The mind in one of its parts could work without logic. The unconscious mind works without any logic. “It recognizes no ‘because’, no ‘therefore’, no ‘but’.”

Freud  and ‘Beyond the Pleasure Principle’.

(This point is very important – S. Sree Kumar)

Freud puts forward a new idea in his essay ‘Beyond the Pleasure   Principle’. This new idea supplements Aristotle’s notion of Catharsis. Freud’s earlier theory was that all dreams could be understood as the effort to fulfill the dreamer’s wishes. The pleasure principle worked in dreams.

Freud reconsiders this view in ‘Beyond the Pleasure Principle’. He feels that in cases of war neurosis – shell shock- the patient recollects the experience with utmost anguish. Here no ‘pleasure principle’ is involved.

Freud says that in psychic life there is a repetition compulsion that goes beyond the pleasure principle. This traumatic neurosis is an attempt to mythridatize (another term from medical science, where a patient is administered small doses of poison. Ultimately, the dosage is increased and he becomes immune to poison). The nightmare that a person sees is an attempt to overcome a bad situation. By repeating it he is making a new effort to control it.

In his theory of the effect of tragedy, Aristotle glossed over this function. The terror we experience when we see the bleeding sightless eyes of Oedipus has little cathartic function. Seeing this painful sight of the blind Oedipus, we become immune to the greater pain that life may inflict on us.

Freud says that in human pride is the ultimate cause of human wretchedness. Freud’s man has more dignity than any other system can give. He is an inextricable tangle of culture and biology. He is not simply good; there is a hell within him that is waiting to engulf the whole civilization. For everything he gains, he pays in equal coin.

Notes By Dr. S. Sreekumar

Note on Understanding Amitav Ghosh's The Hungry Tide

• Amitav Ghosh’s novel The Hungry Tide (2004) dramatizes the impact of environmental conservation projects upon committees of subaltern humans. Set in the Sunderbans region of rural Bengal, it registers and responds to the social and the economic disparities both in India’s past and its present. By drawing his central characters from the pool of his implied audience, i.e. to say the middle class educated reader and placing them in unfamiliar circumstances, Ghosh articulates a more general political imperative to recuperate suppressed subaltern histories and to advance their calls for social justice.
• The novel engages the overwhelming question : how should we , as readers and writers position ourselves in relation to today’s geopolitical inequalities in spaces that are both conceptually and geographically distant? The Hungry tide locates the source of justice in the civic possibilities created by the agency of the cosmopolitan individual.
• The Hungry Tide is also a meditation on the transformative power of close human relationships, on how affect, configured through altruistic love , can shape the political actions and philosophical interests of the characters.
• According to Tomsky, The Hungry tide illuminates the ways certain locations and histories give rise to unique sensations , whose effective resonance leads to the formation of a new subjectivity within the individual. The novel not only functions as a testimony to the historically unresolved sufferings of the rural poor, but also implicates its readers. In this novel, Ghosh makes the readers responsible for initiating real political change. To catalyse the reaction of affect and cosmopolitan subjectivity, Ghosh deliberately chooses a geography and history that confound the novel’s cosmopolitan characters and through them, the reader.Bengal’s Sunderbans epitomize subalternity. At one level, in other words, this subaltern space reveals that to be an ethically engaged cosmopolitan one must be sensitive to particularities and local conditions ghosh is equally adamant that even the cosmopolitan who possesses this sensitivity can find his/her agency curtailed, even jeopardized, by hegemonic apparatuses. As an antidote, Ghosh foregrounds an ethical inquiry exemplified by a form of written testimony that calls attention to collective suffering and urges intervention.
• In The Hungry Tide Ghosh looks beyond elite communities and the metropoles to focus on Bengal’s Sunderbans, a region of intricate archipelagoes. In this rural setting replete with hunger and catastrophe, he intersects the contemporary narratives of Piya Roy and Kanai dutt with the past narratives of kanai’s aunt and uncle, nilima and Nirmal Bose.
• Ghosh sets up Nirmal as a solitary figure who challenges the silencing of history, rebuking the failures of academics and the international community to speak of the violence perpetrated on the refugees. Ghosh presents a rethinking of modernist and rationalist forms and an attempt to move towards new forms of power and knowledge.
•  Ghosh represents Nirmal’s agitated emotional state as the source of his unrequited love and his commitment to a new found political purpose.
• The Hungry Tide asserts that the emancipator possibilities of an interventionist ethic reside within the very structure of transnational middle class privilege. Ghosh demonstrates how advantageously the cosmopolitan class is placed to utilize the resources within capitalist globalization to contest the subjugation of communities. In invoking an ethical practice of critical self reflexivity, Ghosh intends to keep us vigilant to notions of responsibility and to remind us of our own , often arbitrary and precarious, access to power. But our obligations as citizens of the world, in the face of civic inequalities and suppressed histories, like those of Morichjhapi, do not dissolve at the moment of witnessing. Ghosh wants us to act affectively and socio-politically. Only then can we begin to transcend the failures of modern nation states by inaugurating a new societal order composed of affective and ethically responsive networks.
• By dramatizing the encounter between bourgeois characters and the traumatic history of people inhabiting the Sunderbans region of Bengal, Ghosh suggests that an unreconstructed cosmopolitanism is incapable of addressing social injustices; to effect any positive change, the cosmopolitan must undergo a transformation.

References

Amitav Ghosh’s Anxious Witnessing and the Ethics of Action in The Hungry Tide

By Terri Tomsky

https://shodhganga.inflibnet.ac.in/bitstream/10603/273735/7/07_chapter%20%204.pdf

Analysis of Shakespeare's Rememberance

Sonnet XXX

When to the sessions of sweet silent thought
I summon up remembrance of things past,
I sigh the lack of many a thing I sought,
And with old woes new wail my dear time's waste:
Then can I drown an eye, unused to flow,
For precious friends hid in death's dateless night,
And weep afresh love's long since cancelled woe,
And moan the expense of many a vanished sight:
Then can I grieve at grievances foregone,
And heavily from woe to woe tell o'er
The sad account of fore-bemoaned moan,
Which I new pay as if not paid before.
   But if the while I think on thee, dear friend,
   All losses are restor'd and sorrows end.

Remembrance, a sonnet by the great sonneteer Shakespeare. He was a great sonneteer who gave a new form, a new taste to the sonnet. The theme of Shakespearean sonnets is mostly loved but there are some other themes also which he handles with accuracy and aptness. The sonnet remembrance shows that the poet in a sad and melancholic mood who is brooding for his lost and dead friends.

The poet is recalling all the memories from the past. He is thinking about the happy days when he used to be with his friends. He is lamenting for a number of things that he was unable to get from his life. With the passage of time, new regrets have crept in the poet’s life. Poet used to weep on his past sorrows and new regrets but time has matured him and now, he doesn’t weep at them, he only laments and feels sad for his activities. The poet is shown to be lamenting and feeling sorry for his friends who are no more in this world. He once again wants to weep at their death so as to tribute them and he wants once again he must cry for them as if he had not cried at their time of the death. All the sorrows, which he had bewailed, he wants to lament once again for his dead friends. After lamenting and crying for his long-dead friends he feels enthusiastic and rejuvenated. The friends who are lost now make the poet sad but after lamenting at them he feels happy and satisfied. The reversal of mood is witnessed in the last couplet of the sonnet.

The theme of death and immortality has been portrayed here. Fair Youth, the person to whom the sonnets of Shakespeare were dedicated is an amalgamation of all the qualities which Shakespeare’s lost friends had that is why the mere presence of fair youth makes Shakespeare happy as he sees a blend of qualities of lost friends in Fair Youth. The poet is shown to be nostalgic throughout the sonnet. Poet, in the beginning, suffers from an acute sense of loneliness. Death is personified in the sonnet. ‘Woe to woe’ shows repetition. The feelings of the poet towards his friends are intense and that is why he is lamenting for their death after so many years. Diction is simple, colloquial. The rhyme scheme followed is abab cdcd efef gg. Alliteration and onomatopoeia are also seen.

The poet had started the sonnet on a pessimistic note and the end of the sonnet witnesses optimistic note. Thus, we can say, the purpose of Shakespearean sonnets served. The poet is victorious as well as successful in grasping the sympathy of readers.

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© Manjari Shukla

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My Notes made during Graduation in Patna Women's college (2006-2009)

Analysis of Sonnet 116 by Shakespeare

Let me not to the marriage of true minds

Admit impediments. Love is not love

Which alters when it alteration finds,

Or bends with the remover to remove.

O no! it is an ever-fixed mark

That looks on tempests and is never shaken;

It is the star to every wand'ring bark,

Whose worth's unknown, although his height be taken.

Love's not Time's fool, though rosy lips and cheeks

Within his bending sickle's compass come;

Love alters not with his brief hours and weeks,

But bears it out even to the edge of doom.

If this be error and upon me prov'd,

I never writ, nor no man ever lov'd.

True Love a beautiful sonnet by the great writer of all ages, William Shakespeare deals with the theme of love. Though Shakespeare was not educated at the famous universities of Oxford and Cambridge he had all the qualities which the students of these famous universities had. Shakespeare was a master in writing sonnets. His sonnets were dedicated to Dark Lady and Fair Youth, Mr. W.H. in his lifetime, Shakespeare has written 154 sonnets out of which 1-126 are dedicated to Fair Youth and the rest are dedicated to Dark Lady (127-154). In his sonnet, Shakespeare has taken the theme of love, one of the most prevalent and common themes during his age. Shakespeare was a great artist and it is his this artistry that brought him name and fame together.

Now, we will focus on the theme as well as the meaning of the graceful sonnet. This sonnet deals with unconditional and selfless love. The sonnet portrays the philosophical truth that love is an eternal feeling which is boundless and infinite. This feeling is a slave to the human heart in which it thrives. Shakespeare believes that love is having its shelter and abode in the human heart and this is the place where love prospers. The abode of love is the human heart since the beginning of the universe and it will remain the abode till the end of the Universe. The path of love is a mixed one that is craggy as well as smooth. The path of love has obstacles and hardships which the lover had to pass through. If the love is true it will not budge to the impediments, it will not allow hindrances to hinder the marriage of true minds. True love is not which changes and alters with the coming of a substitute. True love stands steadfast; it is upright bearing the hurdles at every step of its journey. Shakespeare has used beautiful symbols and imagery to make his work worthy as well as outstanding. The poet further says that no matter how tempestuous the sea is, the radiance will always reach the eye and guide it safely to the shore. Love is like the North Star which is worthy. Though its height can be estimated it is worthy. Though its height can be estimated its worth beyond calculation. Love can be regarded as an extended metaphor that compares human relationships as priceless cargo carried during a mortal journey. Here the poet has emphasized human bonds that are nurtured and cherished by true love only. The third stanza of this graceful sonnet brings out Shakespeare’s pet imagery of the time. The time is here personified in the form of a compass. It holds the key to evolution. The human being is bound in the cycle of birth and death and thus is subject to decay and destruction, but the feeling of love which exists in the heart of two persons are true to one another just as the true love. Love is a treasure that the time cannot bear down and art cannot over spare for. Time takes away everything except true love.

The concluding couplet of the sonnet presents a different idea. Shakespeare says in the concluding couplet that if whatever he has conveyed through the sonnet is false and error some, may he and his creations be forgotten and if his ideas are wrong and baseless then in this world no one had ever loved. The language of the poet is metaphorical and poetical. Shakespeare had succeeded in presenting his ideas very precisely and accurately through the sonnet. Time and love are personified in the sonnet; enjambments are also employed by the poet. The concluding couplet has all the sympathy which the reader witnesses while analyzing it. rhetorical questions and alliterations are used. Altogether, the sonnet had been able to serve its purpose of explaining the meaning of love.

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© Manjari Shukla

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My Notes made during Graduation in Patna Women's college (2006-2009)

Appreciation of Shakespeare's A Consolation

XII. A Consolation

WHEN in disgrace with fortune and men's eyes
I all alone beweep my outcast state,
And trouble deaf heaven with my bootless cries,
And look upon myself, and curse my fate;
Wishing me like to one more rich in hope,	5
Featured like him, like him with friends possest,
Desiring this man's art, and that man's scope,
With what I most enjoy contented least;
Yet in these thoughts myself almost despising,
Haply I think on Thee—and then my state,	10
Like to the lark at break of day arising
From sullen earth, sings hymns at heaven's gate;
For thy sweet love remember'd, such wealth brings
That then I scorn to change my state with kings.

Consolation is a graceful sonnet composed by the great Elizabethan sonneteer William Shakespeare. He was a graduate from the school of life and it was his contribution to the English literature that it is now immortal. The Elizabethan age reached to its epitome of glory in the writings of Shakespeare. He was able to portray society as well as human emotions. He worked diligently to make the Elizabethan literature outstanding and succeed in doing so. The sonnet Consolation shows the writer to be in a sad mood. Shakespeare believed that there is immortality in art. The poet as we mentioned earlier ins in a sad mood because he feels he is unable to get what he desires from his life. He is not getting applause for his labors and he is disgraced. He is experiencing bad luck and thus is weeping alone. The poet is cursing his fate and is lamenting but the cruel heaven is not listening to him. The speaker wants to be a rich and wealthy man of society so that he can have friends. He had seen that wealthy people had numerous friends and he is friendless. Personification of heaven is observed in the first quatrain of the sonnet. The speaker is not contented with his position and wants all the privileges which the rich enjoy. He wants the reputation of others so that he can enjoy his life.

 In his melancholic mood he thinks about his friend and the mere thinking of poet’s friend makes the poet happy and optimistic. His sad and grief stricken mood changes into happy and enjoyable mood. The poet here presents the picture of lark, which is an image of happiness and brightness. The lark is believed to be flying at greater heights and singing hymns at heaven’s gate. The poet’s thinking of his friends makes him enthusiastic and he starts recovering from his sad state. He feels as if heaven who is said deaf in the beginning is listening to him. The thought of poet’s friend rejuvenates him; he says in the concluding couplet of sonnet that he is ready to reject the offer of king also if his dear friend is with him. The language of the sonnet is easy and diction employed is simple. Poet has compared the joys of remembrance to joys of king. Simile is used in the sonnet for example: Like to the lark. Personification of heaven is also seen. The deaf heaven in the beginning of the sonnet starts listening to poet’s grief in the end which shows the reversal of mood. The sonnet has served it’s purpose gracefully. The sad mood of the poet changes into happy mood by the end and thus the sonnet is very nice and enjoyable. The writer has succeeded in painting his emotions in a precise and compact manner.

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Notes Prepared by consulting books during My Graduation from Patna Women's College(2006-2009)