Chanya Button's film Vita & Virginia

Chanya Button's film Vita & Virginia:

Vita & Virginia is a 2018 biographical romantic drama film directed by Chanya Button. The screenplay, written by Button and Eileen Atkins, is adapted from the 1992 play Vita & Virginia by Atkins.The film stars Gemma Arterton, Elizabeth Debicki, and Isabella Rossellini. Set in the 1920s, Vita & Virginia tells the story of the love affair between Vita Sackville-West and Virginia Woolf.

The film had its world premiere as a Special Presentation at the Toronto International Film Festival on 11 September 2018.It was released in the United Kingdom on 5 July 2019, and in the United States on 23 August 2019.(wikipedia)

1) How do the letters function not only as a medium of communication between the two central characters but also as narrative tool within the film?

In Chanya Button's film Vita & Virginia, letters serve as both a primary medium of communication between Vita Sackville-West and Virginia Woolf and a pivotal narrative device that deepens the audience's understanding of their relationship and individual psyches.

Medium of Communication:

The film is set in the 1920s, a period when letter writing was a prevalent form of correspondence, especially among the literati. Vita and Virginia's letters begin with formal pleasantries but soon evolve into intimate exchanges, reflecting their deepening emotional and romantic connection. These letters allow the characters to express sentiments and desires that societal norms of the time might have suppressed in face-to-face interactions. The epistolary exchanges become a safe space for vulnerability, passion, and intellectual discourse, laying the foundation for their complex relationship.

Narrative Tool:

1. 
   Character Development: The letters provide direct insight into the inner thoughts and emotions of Vita and Virginia. By hearing their written words, the audience gains a deeper understanding of their motivations, fears, and desires. This narrative technique allows for a more nuanced portrayal of both women, showcasing their complexities beyond their public personas.

2. Authenticity and Historical Context: By incorporating the actual words from Vita and Virginia's correspondence, the film grounds itself in historical authenticity. This approach not only pays homage to their real-life relationship but also immerses the audience in the linguistic style and cultural context of the era. The letters reveal the challenges they faced, both personally and within the constraints of early 20th-century society.

3. Plot Progression: The exchange of letters propels the narrative forward, marking significant milestones in their relationship. Each letter reflects the progression from acquaintances to lovers, highlighting moments of longing during separations and the eventual strains that distance and societal pressures impose. The letters act as narrative anchors, guiding the audience through the timeline of their affair.

4. Visual and Auditory Engagement: The film employs creative techniques to present the letters. Often, the actresses recite the letters in voice-over while the camera captures their expressions, or they break the fourth wall, speaking directly to the audience. This method creates an intimate connection between the characters and viewers, enhancing emotional engagement. The visual representation of writing, such as ink flowing on paper, further enriches the sensory experience.

5. Thematic Exploration: The letters delve into themes of love, identity, creativity, and societal constraints. Through their correspondence, Vita and Virginia discuss their literary endeavors, the nature of their affection, and their struggles with mental health and societal expectations. These discussions provide a deeper understanding of the themes that permeate both their lives and their literary works, notably influencing Woolf's writing of Orlando, which was inspired by Vita.(Her Campus)

In summary, the letters in Vita & Virginia are integral to the film's narrative structure. They offer a window into the protagonists' inner worlds, drive the plot, and enrich thematic depth, all while maintaining historical authenticity. This epistolary device allows the film to explore the profound connection between Vita Sackville-West and Virginia Woolf, illuminating how their relationship influenced their personal lives and literary creations.

2) Discuss some of the views regarding marriage, relationship and the role of society presented by the various characters in the film.

In Chanya Button's Vita & Virginia, the film delves into complex and multifaceted views on marriage, relationships, and societal expectations, particularly as they relate to the lives of Vita Sackville-West and Virginia Woolf. These perspectives are explored through their dialogues, letters, and interactions with other characters, reflecting both conformity to and defiance of the norms of 1920s society.

Marriage as a Social Institution

Marriage is portrayed as a binding societal contract, often at odds with personal desires and freedoms. Vita Sackville-West’s marriage to Harold Nicolson is presented as unconventional yet functional. Although Harold is aware of Vita's romantic and sexual interests in women, their marriage remains intact, primarily for social and political reasons. Harold values the social respectability and stability their union provides, even as both partners explore relationships outside their marriage.

Virginia Woolf, on the other hand, shares a more conventional but intellectually driven bond with her husband, Leonard Woolf. Leonard is depicted as a supportive figure, deeply caring for Virginia's mental and emotional well-being. However, Virginia’s burgeoning relationship with Vita challenges her understanding of love and companionship, raising questions about whether marriage can accommodate personal fulfillment and intellectual equality.

Non-Traditional Relationships

Vita’s unapologetic approach to her sexuality and relationships stands in stark contrast to societal norms of the time. She challenges the notion that marriage must be an exclusive, monogamous bond. Vita's relationships, particularly her pursuit of Virginia, are driven by her belief in living authentically and pursuing passion, even if it means defying societal expectations.

Virginia, initially hesitant and cautious, becomes captivated by Vita’s charisma and openness. Through their relationship, Virginia begins to question traditional roles assigned to women in marriage and society. The intimacy they share is not just physical but also intellectual, inspiring Virginia's writing of Orlando, a novel that embodies themes of love, gender fluidity, and the timeless nature of relationships.

The Role of Society

Society is depicted as a restrictive force, imposing rigid expectations on individuals, particularly women. Vita, despite her privileged status, often finds herself battling societal judgment for her unconventional lifestyle. Her aristocratic background provides her with certain freedoms, yet these are limited by the need to maintain appearances.

Virginia, on the other hand, experiences societal pressures differently. As a member of the Bloomsbury Group, she is part of a progressive intellectual circle that challenges traditional norms. However, her struggles with mental health and the expectations placed upon her as a writer and wife add layers of complexity to her defiance of societal conventions.

Contrasting Perspectives

The film also explores differing perspectives through secondary characters. Harold represents a pragmatic view of marriage, valuing its stability over passion. Leonard embodies a more nurturing yet traditional role, prioritizing Virginia’s well-being over his personal desires. These contrasting views highlight the varied ways individuals navigate the intersection of love, duty, and societal norms.

Conclusion

Through its characters, Vita & Virginia presents a nuanced exploration of marriage, relationships, and societal roles. The film underscores the tension between individual desires and societal expectations, offering a thought-provoking commentary on the evolving nature of love and partnership. Vita and Virginia’s relationship, though unconventional, becomes a powerful narrative of self-discovery and creative inspiration, challenging the boundaries of tradition and paving the way for a more inclusive understanding of relationships.

3) In your opinion, is the film able to capture Woolf's depressive state with sincerity & genuity?

In Vita & Virginia, Virginia Woolf's depressive state is portrayed with sincerity, though the depth of her struggles might not resonate as fully as it could. The film addresses her mental health challenges, including her bouts of depression and sensitivity to external pressures, as intrinsic to her character and creative genius. However, while the intent is clear, the execution is somewhat limited by the constraints of a cinematic format and the narrative's primary focus on her relationship with Vita Sackville-West.

The film does succeed in showcasing Woolf’s internal struggles through her interactions with others and her solitary moments. Scenes of Virginia retreating into herself, haunted by auditory hallucinations and overwhelmed by her surroundings, effectively convey her fragility. These moments are marked by expressive cinematography, using dim lighting and blurred visuals to mirror her internal turmoil. Elizabeth Debicki's performance as Virginia is nuanced, capturing her vulnerability and moments of despair with subtlety and grace.

However, the film chooses to focus more on Virginia’s passionate relationship with Vita and its impact on her creativity, particularly her writing of Orlando. As a result, her depressive state sometimes feels secondary to the central narrative. While this choice aligns with the film’s thematic exploration of inspiration and transformation, it may understate the gravity of Woolf’s mental health challenges.

In conclusion, Vita & Virginia captures Woolf’s depressive state with sincerity, but perhaps not the full extent of its complexity. It emphasizes how her struggles shaped her artistry, presenting her pain as a profound yet partial facet of her identity. For viewers familiar with Woolf’s life and works, this portrayal might feel incomplete but still respectful of her legacy.

4) Share your thoughts about the portrayal of the relationship between Virginia Woolf and Vita Sackville West. (Here, discuss points like who initiated the relationship, their first meeting, their last meeting, etc)

The portrayal of the relationship between Virginia Woolf and Vita Sackville-West in Vita & Virginia is a layered exploration of love, inspiration, and transformation. The film emphasizes their contrasting personalities and the impact their relationship had on each other’s personal lives and creative work, particularly Woolf’s novel Orlando. It provides insight into the stages of their connection, from its initiation to its culmination, framed within the social and literary context of the 1920s.

The Initiation of the Relationship

The relationship between Virginia and Vita begins with Vita taking the initiative. Vita, portrayed as confident and worldly, is drawn to Virginia’s intellectual brilliance and enigmatic nature. Their first meeting, arranged through mutual acquaintances, is depicted as a moment of intrigue. Vita’s bold charm contrasts with Virginia’s reserved demeanor, highlighting their differences. From the outset, Vita is shown as the pursuer, enchanted by Virginia’s talent and allure.

Virginia, on the other hand, is initially cautious and hesitant. She is depicted as someone who struggles with intimacy due to her mental health challenges and introverted nature. However, Vita’s persistence and sincerity gradually break down Virginia’s defenses, leading to a deep emotional and intellectual bond.

Their First Meeting

The first meeting between Virginia and Vita is portrayed with subtle tension and curiosity. Set in a vibrant literary salon, the scene captures their mutual fascination. Vita’s confidence and ease stand out in contrast to Virginia’s quiet intensity. The film emphasizes how their dynamic begins with admiration—Vita admires Virginia’s intellectual depth, while Virginia is intrigued by Vita’s vivacity and boldness. This initial meeting sets the tone for a relationship that defies societal conventions and expectations.

The Development of Their Relationship

As their relationship progresses, the film explores its complexity. Vita’s passionate and impulsive nature brings a sense of vitality to Virginia’s life, inspiring her creatively. Virginia’s novel Orlando, often described as a love letter to Vita, becomes a central symbol of their bond. Their letters, which are prominently featured in the film, reveal the depth of their connection, with Vita often expressing her longing and adoration while Virginia responds with introspective reflections.

The film also highlights the challenges in their relationship. Vita’s aristocratic background and her marriage to Harold Nicolson provide her with certain freedoms but also create constraints. Virginia’s mental health and her marriage to Leonard Woolf add further complications. These external pressures create a dynamic where their relationship oscillates between moments of passion and distance.

Their Last Meeting

The film poignantly portrays their final meeting as a moment of bittersweet closure. While the romantic intensity of their relationship fades, their mutual respect and admiration endure. Virginia’s gift of Orlando to Vita becomes a lasting testament to their connection, immortalizing their bond in literature. The scene underscores how their relationship, though unconventional and at times turbulent, profoundly shaped both their lives.

Conclusion

The portrayal of Virginia Woolf and Vita Sackville-West’s relationship in Vita & Virginia is both tender and compelling. It captures the transformative power of their connection, emphasizing how it defied societal norms and inspired one of Woolf’s greatest works. Through its focus on their first meeting, the evolution of their bond, and their final farewell, the film offers a nuanced depiction of a relationship that was as complex and groundbreaking as the women themselves.

Additional Resource:

 Trailer:

Reference:

“The Letters between Vita & Virginia: A Love Story beyond Social Taboos.” Her Campus, 29 Oct. 2023, www.hercampus.com/school/casper-libero/the-letters-between-vita-virginia-a-love-story-beyond-social-taboos/?utm_.

“Vita & Virginia.” Wikipedia, Wikimedia Foundation, 4 Oct. 2024, en.wikipedia.org/wiki/Vita_%26_Virginia .

Bridge Course: T.S. Eliot - Criticism - Tradition and Individual Talent

This blog task assigned by Dr.Dilip Barad sir. Here is the link to the professor's Research gate for background reading: Click here.

About T.S. Eliot:

T.S. Eliot (1888–1965) was a prominent American-English poet, playwright, literary critic, and editor, renowned for his significant contributions to the Modernist movement in literature. Born in St. Louis, Missouri, he later moved to England, where he became a central figure in 20th-century literature.

Playwriting and Criticism: Beyond poetry, Eliot made significant contributions to drama and literary criticism. His play "Murder in the Cathedral" (1935) explores the martyrdom of Archbishop Thomas Becket, while "The Cocktail Party" (1949) delves into themes of personal identity and societal expectations. As a critic, Eliot's essays, such as "Tradition and the Individual Talent," have been influential in shaping modern literary thought.

1) How would you like to explain Eliot's concept of 'Tradition'? Do you agree with it? What do you understand by 'Historical Sense'? 

T. S. Eliot’s concept of "Tradition" as outlined in his seminal essay, Tradition and the Individual Talent (1919), remains one of the most influential ideas in literary criticism. Eliot redefined the meaning of tradition, challenging the conventional notion that it refers to a static set of past practices or conventions. Instead, he posits that tradition is a dynamic, living continuum that actively shapes and is shaped by contemporary artists. Eliot’s ideas about tradition and the "historical sense" underline his view that literature exists as part of a larger, interconnected historical framework. This essay examines Eliot's concept of tradition, the role of the historical sense, and whether these ideas remain relevant today.

Eliot's Concept of Tradition

Eliot begins by emphasizing that tradition is not merely inherited but must be actively cultivated by the artist. He asserts that tradition requires "a sense of the past" and an ability to recognize the enduring significance of previous works of art. According to Eliot, “The historical sense involves a perception, not only of the pastness of the past but of its presence.” This statement reflects his belief that the past is not merely a sequence of obsolete events but is alive and meaningful in the present. Great writers, Eliot suggests, have the ability to simultaneously understand the historical context of earlier works while incorporating their influence into their own writing in ways that are relevant to their time.

Eliot challenges the romantic notion of the poet as a wholly original genius, disconnected from historical or cultural influence. For him, true originality arises from an intimate engagement with the tradition that precedes an artist. He argues, "No poet, no artist of any art, has his complete meaning alone. His significance, his appreciation is the appreciation of his relation to the dead poets and artists." In this way, Eliot envisions tradition as a collective inheritance that enriches individual creativity.

The Role of the Historical Sense

Central to Eliot's concept of tradition is the "historical sense," a term that encapsulates an artist's ability to perceive the relationship between past and present. Eliot writes, “This historical sense, which is a sense of the timeless as well as of the temporal, and of the timeless and of the temporal together, is what makes a writer traditional.” Here, he highlights the dual nature of the historical sense: it involves both an appreciation of the timeless, universal qualities of literature and an understanding of how these qualities manifest in specific historical and cultural contexts.

The historical sense requires a writer to recognize that their work is part of an ongoing conversation that transcends temporal boundaries. By engaging with the tradition, a writer contributes to its evolution, ensuring that it remains vital and relevant. For Eliot, this does not mean imitating the past but rather engaging with it critically and creatively. He believed that this process enriches both the writer and the tradition itself.

Evaluation and Critique

Eliot’s concept of tradition has been lauded for its depth and its emphasis on continuity and dialogue between past and present. His idea that no writer exists in isolation resonates strongly with modern theories of intertextuality, which emphasize the interconnectedness of all texts. The historical sense encourages writers to adopt a broader perspective, situating their work within a larger cultural and intellectual framework.

However, Eliot’s concept has also been criticized for being overly Eurocentric and conservative. His focus on a canon of “dead poets” often excludes marginalized voices and traditions that fall outside the Western literary canon. Critics argue that this approach risks perpetuating a narrow, exclusionary view of literary excellence. Additionally, some question whether Eliot’s emphasis on tradition stifles innovation, as it places significant weight on adherence to past forms and conventions.

Personal Reflection

I find Eliot’s concept of tradition compelling, particularly his emphasis on the dynamic interplay between past and present. His assertion that the past is alive in the present resonates with the idea that literature is a cumulative and collaborative enterprise. However, I also believe that Eliot’s definition of tradition needs to be expanded to include a more diverse range of voices and perspectives. While the historical sense is invaluable for understanding literature as a continuum, it must also be open to reinterpretation and critique.

Eliot’s idea of the historical sense as the perception of “the timeless and of the temporal together” is especially significant. It underscores the idea that great literature transcends its immediate historical context while remaining deeply rooted in it. For instance, Shakespeare’s plays are timeless because they explore universal themes such as love, ambition, and mortality, yet they are also inextricably linked to the social and political realities of Elizabethan England.

Conclusion:

Eliot’s concept of tradition and the historical sense offers profound insights into the relationship between past and present in literature. His belief that tradition is not a static inheritance but a dynamic process of engagement encourages writers to view their work as part of a larger cultural conversation. While his ideas are not without limitations, they provide a valuable framework for understanding the complexities of literary creation. By balancing the timeless and the temporal, writers can create works that honor the past while speaking to the present. Eliot’s concept of tradition thus remains a powerful and enduring contribution to literary criticism.

2) What is the relationship between “tradition” and "individual talent,” according to the poet T. S. Eliot? 

The Relationship Between Tradition and Individual Talent 

Inhis essay Tradition and the Individual Talent (1919), T. S. Eliot argues that the relationship between tradition and individual talent is symbiotic and mutually enriching. For Eliot, tradition is not a passive inheritance but an active process of engagement with the literary past. Individual talent, on the other hand, refers to the unique creative ability of a poet to contribute to the ongoing literary tradition. He asserts that a great poet must simultaneously possess an awareness of the past and a capacity to create new, relevant works. This dynamic interplay forms the foundation of Eliot’s theory.

Eliot emphasizes that no poet works in isolation. He writes, “No poet, no artist of any art, has his complete meaning alone. His significance, his appreciation is the appreciation of his relation to the dead poets and artists.” This suggests that individual talent derives its depth and richness from its engagement with tradition. A writer must develop a "historical sense," which Eliot defines as “a perception, not only of the pastness of the past but of its presence.” This allows the writer to recognize the living relevance of the past while contributing to the evolution of tradition.

Absorbing Knowledge: Shakespeare and Plutarch

Eliot's statement, “Some can absorb knowledge; the more tardy must sweat for it. Shakespeare acquired more essential history from Plutarch than most men could from the whole British Museum,” highlights the distinction between talent and labor in the creative process. Shakespeare, Eliot argues, had an extraordinary ability to absorb and internalize knowledge with remarkable ease. His engagement with Plutarch’s Lives provided him with profound historical and psychological insights that enriched his works.

This observation reflects Eliot’s belief that true genius lies in the ability to assimilate and transform existing knowledge into something new and timeless. Shakespeare’s talent exemplifies how an individual artist can interact with tradition, using it as a foundation to create something profoundly original. His use of Plutarch demonstrates how tradition serves as a reservoir of knowledge and inspiration for those with the talent to harness it.

Criticism of Poetry, Not the Poet

Eliot’s claim that “Honest criticism and sensitive appreciation are directed not upon the poet but upon the poetry” underscores his objective approach to literary criticism. He argues that the focus of criticism should be on the work itself rather than the personal life or intentions of the poet. This aligns with his broader argument about the "depersonalization" of art, wherein a poet’s individual emotions and experiences are transformed into universal expressions through their work.

For Eliot, poetry achieves greatness when it transcends the personal and resonates on a broader, more universal level. The emphasis on the poetry rather than the poet ensures that the work is judged on its intrinsic merits rather than on subjective or biographical factors. This approach allows for a more rigorous and impartial evaluation of artistic quality.

Conclusion:

Eliot’s essay presents a nuanced understanding of the relationship between tradition and individual talent. Tradition provides the foundation for literary innovation, while individual talent enriches and revitalizes that tradition. Shakespeare’s genius exemplifies this dynamic, as he absorbed and transformed existing knowledge into timeless works. Eliot’s focus on the poetry rather than the poet emphasizes the importance of evaluating art on its own terms. Together, these ideas highlight the enduring relevance of Eliot’s insights into the creative process and literary criticism.

3) How would you like to explain Eliot's theory of depersonalization? 

Eliot’s Theory of Depersonalization

T. S. Eliot’s theory of depersonalization, articulated in Tradition and the Individual Talent (1919), redefines the role of the poet in creating art. Eliot argues that great poetry results from the poet's ability to separate their personal emotions and experiences from their creative work. Instead of channeling raw emotion, the poet functions as a medium, transforming feelings into universal expressions through an impersonal process.

Eliot likens this process to a chemical reaction. He writes that the poet's mind acts like a catalyst in a chemical process: “The mind of the poet is the shred of platinum.” In this analogy, raw emotions and experiences (reactants) interact within the poet’s mind (the platinum catalyst) to produce poetry (the product). The catalyst itself remains unchanged by the reaction, signifying that the poet’s personality does not appear in the final work. Just as platinum facilitates a chemical reaction without becoming part of the resulting compound, the poet's mind transforms personal feelings into artistic expressions while remaining detached from the finished work.

Eliot’s famous assertion, "Poetry is not a turning loose of emotion but an escape from emotion; it is not the expression of personality but an escape from personality," reinforces this idea. He insists that poetry is not a spontaneous outpouring of feelings but a disciplined craft requiring the poet to transcend their individuality. This impersonal approach, he argues, allows poetry to achieve universality and resonate with readers across time and space.

Critique of T. S. Eliot as a Critic

1. Exclusionary Focus on Tradition:

Eliot’s emphasis on the literary canon often favors a narrow, Eurocentric view of tradition. His focus on “dead poets” as the foundation of literary excellence has been criticized for marginalizing non-Western and contemporary voices. This limits the scope of his theory, which could benefit from a more inclusive understanding of tradition.

2. Overemphasis on Objectivity:

While Eliot’s theory of depersonalization highlights the importance of craft, it may undervalue the role of personal expression in poetry. Critics argue that art cannot be entirely impersonal, as the poet’s individuality inevitably shapes their work. This rigid emphasis on objectivity risks alienating forms of literature that thrive on personal and emotional expression, such as Romantic poetry.

Conclusion:

Eliot’s theory of depersonalization challenges traditional notions of poetic creativity by emphasizing objectivity and the transformative power of art. While his ideas provide valuable insights into the nature of artistic production, they are not without limitations, particularly in their exclusionary tendencies and underestimation of personal expression in poetry.

Additional Resource:

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Reference:

“Tradition and the Individual Talent.” Poetry Foundation, Poetry Foundation, www.poetryfoundation.org/articles/69400/tradition-and-the-individual-talent . Accessed 25 Dec. 2024.

“T.S. Eliot.” Encyclopædia Britannica, Encyclopædia Britannica, inc., 18 Nov. 2024, www.britannica.com/biography/T-S-Eliot.

Frame study of 'Modern Time ' and 'The Great Dictator'.

This task assigned by Dr. Dilip Barad sir. Here is the link to the professor's blog for background reading: Click here 

 The Modern Times:

This frame, featuring the caption "Work at last!" from Charlie Chaplin's Modern Times (1936), serves as a profound encapsulation of the film's overarching commentary on industrialization, labor, and the human condition. Through this seemingly simple intertitle, Chaplin evokes a complex interplay of hope, irony, and critique, offering a microcosm of the tensions and themes that define the film.

Contextualizing the Frame in Modern Times

Modern Times is a landmark in cinematic history, bridging the silent and sound eras while delivering a sharp critique of industrial capitalism. Chaplin's portrayal of the Tramp navigating the alienating world of factories, mechanization, and the Great Depression reflects the struggles of the working class in the early 20th century. This particular frame, "Work at last!", appears at a moment of transition in the narrative, signifying the Tramp's desperation to find stability amidst economic uncertainty.

The phrase can be read both literally and symbolically. On the surface, it expresses relief at securing employment, an aspiration shared by millions during the Depression. However, within the context of Chaplin's satire, it also hints at the futility and exploitation inherent in the labor systems of the time. The exclamation mark underscores a momentary triumph, but the audience, familiar with the Tramp's misadventures, anticipates the precariousness of this newfound "work."

The Irony of "Work at Last!"

The phrase is steeped in irony. Throughout Modern Times, work is depicted not as a source of fulfillment or dignity but as a dehumanizing ordeal. The Tramp's early experiences in the factory—where he becomes a cog in the machinery, literally and figuratively—highlight the absurdity of industrial labor. The assembly line reduces human beings to mere extensions of machines, stripping them of individuality and agency. By the time this frame appears, the audience understands that "work" in this context is unlikely to bring the Tramp any genuine satisfaction or stability.

The irony also extends to the broader socio-economic conditions of the 1930s. For many, finding work was indeed a cause for celebration, given the widespread unemployment of the Depression era. Yet Chaplin's film questions whether the work available in such times is truly worth celebrating. Does it uplift the worker, or does it perpetuate a cycle of exploitation and alienation?

Visual and Narrative Significance:

Though this frame is textual rather than visual, it is integral to the visual storytelling of Modern Times. Chaplin's use of intertitles, a holdover from silent cinema, is deliberate. The simplicity of "Work at last!" contrasts sharply with the complex emotions and situations it encapsulates. Its stark presentation against a black background forces the audience to focus on the words and their implications, unmediated by visuals or sound. This minimalist approach enhances the impact of the statement, inviting viewers to ponder its significance within the broader narrative.

Narratively, the frame marks a turning point. The Tramp's quest for work is a recurring motif in the film, symbolizing the broader human desire for purpose and stability. Each new job he takes, however, ends in chaos and disillusionment. This cycle underscores the instability of the economic system and the precariousness of the individual's place within it. "Work at last!" thus becomes both a moment of hope and a harbinger of inevitable failure.

Themes and Philosophical Underpinnings

This frame encapsulates several key themes of Modern Times:

1. Alienation: The industrial age, as depicted in the film, alienates workers from their labor, their fellow humans, and even themselves. The Tramp's repeated failures to integrate into the world of work reflect this alienation.

2. Resilience and Humor: Despite the grim realities of his environment, the Tramp remains resilient, using humor and ingenuity to navigate his challenges. This duality is central to Chaplin's art, blending pathos and comedy to create a deeply humanistic critique.

3. The Absurdity of Modern Life: The film's title and content underscore the absurdities of modernity, from the relentless march of progress to the dehumanizing effects of technology. The phrase "Work at last!" embodies this absurdity, juxtaposing the relief of employment with the indignities it entails.

Broader Implications:

Beyond its immediate narrative and thematic functions, this frame invites reflection on the nature of work and its role in society. Chaplin's critique remains relevant today, as debates over automation, labor rights, and economic inequality continue to shape our world. The tension between the necessity of work and its potential for exploitation is as pertinent now as it was in the 1930s.

The universal resonance of "Work at last!" lies in its ability to capture a moment of hope tinged with irony and foreboding. It speaks to the human condition, highlighting our perpetual struggle for meaning and security in an often indifferent world.

Conclusion:

In Modern Times, the frame "Work at last!" is more than a simple narrative device; it is a microcosm of Chaplin's genius as a filmmaker and social critic. Through this brief intertitle, he distills the hopes, struggles, and ironies of the working class, crafting a moment that is at once deeply personal and profoundly universal. Chaplin's ability to convey such complexity in a single phrase is a testament to his enduring relevance and the timeless power of his art.

The Great Dictator:

This iconic frame from Charlie Chaplin’s The Great Dictator (1940) captures a pivotal moment in which the character of Adenoid Hynkel (a parody of Adolf Hitler) engages in a fantastical dance with a globe balloon. This scene is emblematic of Chaplin’s masterful blend of satire, comedy, and biting political commentary, conveying profound insights about power and tyranny.

Visual Composition:

The frame showcases Hynkel seated on his desk, holding the inflatable globe delicately, as though the entire world is his plaything. The minimalistic office setting, with its orderly furnishings and bust of another leader, contrasts with the absurdity of his posture and the playful demeanor. The scene’s lighthearted tone highlights the dictator's delusional self-importance and childlike fantasies of omnipotence.

Themes and Symbolism:

1. Power and Fragility: The globe represents Hynkel’s lust for world domination. However, its balloon-like quality underscores the fragility of such ambitions and the precariousness of dictatorial rule. The visual metaphor is poignant: while the dictator perceives himself as godlike, his grasp on power is ultimately tenuous and fleeting.

2. Mockery of Fascism: Chaplin ridicules authoritarianism by portraying Hynkel as a narcissistic, buffoonish figure. This comedic treatment diminishes the aura of invincibility surrounding real-life dictators, offering a scathing critique of fascist regimes.

3. Universal Message: The absurdity of the globe dance transcends its historical context, serving as a timeless reminder of the dangers of unchecked power and the hubris of leaders who view the world as their personal domain.

Conclusion:

This frame epitomizes Chaplin’s genius in using humor to confront grave political realities. By turning tyranny into a comedic spectacle, he invites viewers to reflect critically on authority and the moral responsibilities of leadership.

Movie link :

Modern times :

The Great Dictator:

      Reference:

“Modern Times.” Encyclopædia Britannica, Encyclopædia Britannica, inc., www.britannica.com/topic/Modern-Times-film . Accessed 23 Dec. 2024.

Pfeiffer, Lee. “The Great Dictator | Plot, Cast, Summary, and Facts.” Encyclopedia Britannica, 21 Nov. 2024, www.britannica.com/topic/The-Great-Dictator.

War Poetry

This blog task assigned by Prakruti Mam.

1)  A Comparison of Dulce et Decorum Est by Wilfred Owen and The Charge of the Light Brigade by Alfred Lord Tennyson

War is a recurrent theme in English literature, eliciting both glorification and criticism. While Wilfred Owen's Dulce et Decorum Est and Alfred Lord Tennyson's The Charge of the Light Brigade both center on the experiences of war, their approaches and tones differ significantly. Owen’s poem, written during World War I, exposes the brutal reality of modern warfare, while Tennyson’s Victorian poem celebrates the heroism and sacrifice of soldiers. A comparative analysis of the two works highlights the distinct styles, language, and thematic treatments, as well as their differing views on war's impact and morality.

Treatment of the Theme of War:

Wilfred Owen's Dulce et Decorum Est portrays the horrific consequences of war, rejecting the glorification of combat. It is an anti-war poem that describes the suffering and futility faced by soldiers on the battlefield. Owen recounts his experiences in the trenches of World War I, depicting men as physically broken, mentally drained, and emotionally devastated. The central message is that the phrase "Dulce et Decorum Est pro patria mori" (it is sweet and fitting to die for one’s country) is a lie propagated by those who romanticize war without understanding its grim reality.

In contrast, Tennyson’s The Charge of the Light Brigade glorifies the bravery of soldiers, despite the strategic blunders that led to their deaths. Written during the Crimean War, it celebrates the heroism of the Light Brigade, who followed orders unquestioningly, charging into battle even in the face of inevitable death. Tennyson uses the poem as a tribute to their courage and sacrifice, focusing on their loyalty and honor rather than the horror of their deaths.

Thus, while Owen condemns war and its propagandists, Tennyson reveres the soldiers who fight selflessly, framing war as a noble endeavor.

Style and Structure:

The stylistic approaches of the two poems further emphasize their contrasting themes. Dulce et Decorum Est is free verse with a loosely structured rhyme scheme, mirroring the chaos and unpredictability of war. Owen employs a conversational tone, which intensifies the intimacy and immediacy of his message. His use of vivid imagery and raw descriptions—such as "bent double, like old beggars under sacks"—effectively conveys the physical toll on soldiers. The poem’s progression from trudging soldiers to the gas attack and finally to the bitter conclusion is linear, reflecting the brutal and unrelenting nature of war.

The Charge of the Light Brigade, on the other hand, employs a regular meter and rhyme scheme, creating a rhythmic, almost chant-like quality that mirrors the galloping charge of horses. Tennyson uses repetition, such as "Half a league, half a league, half a league onward," to create a sense of momentum and inevitability. The structured stanzas reflect the disciplined, coordinated bravery of the soldiers, despite the chaos of their doomed mission. This controlled form contrasts with Owen’s chaotic and fragmented style, underscoring the difference in their portrayals of war.

Language and Imagery:

Owen uses visceral and grotesque imagery to highlight the grim reality of modern warfare. His description of a gas attack—"as under a green sea, I saw him drowning"—conveys the helplessness and horror faced by soldiers. The language is graphic and shocking, with phrases like "guttering, choking, drowning" forcing readers to confront the physical suffering inflicted by war. Owen’s diction is deliberately unpoetic, emphasizing the stark contrast between the idealized view of war and its brutal reality.

In contrast, Tennyson’s language is heroic and elevated, creating a sense of grandeur. Words like "boldly," "noble," and "glory" reinforce the valor of the soldiers. The imagery in The Charge of the Light Brigade focuses on the action and spectacle of battle, such as "Cannon to right of them, / Cannon to left of them," which creates a vivid picture of the soldiers' perilous charge. While Tennyson acknowledges the loss and futility of the mission ("Not the six hundred"), he refrains from dwelling on the physical suffering of the soldiers, focusing instead on their bravery and sacrifice.

Tone and Mood:

The tone of Dulce et Decorum Est is bitter and accusatory. Owen directly addresses the audience, particularly those who perpetuate the myth of war’s nobility, with a searing critique: "My friend, you would not tell with such high zest / To children ardent for some desperate glory, / The old Lie." The mood is somber and horrifying, reflecting the psychological scars left by war.

In contrast, the tone of The Charge of the Light Brigade is reverential and celebratory, even as it acknowledges the tragedy of war. Tennyson immortalizes the Light Brigade’s charge as an act of selfless heroism, and the mood is one of awe and admiration. The phrase "When can their glory fade?" suggests that their bravery transcends their loss, elevating their sacrifice to legendary status.

Similarities:

Despite their differences, both poems share certain commonalities. Both acknowledge the inevitability of death in war and commemorate the soldiers who face it. While Owen condemns the glorification of war, he does not belittle the suffering of soldiers, much like Tennyson, who reveres the courage of the Light Brigade. Both poems are deeply emotional, though their emotional tones—grief and bitterness in Owen’s case, and admiration in Tennyson’s—are distinct.

2)  War Poetry and the Larger Questions of Life.

War poetry is a deeply resonant form of literature that captures the multifaceted human experiences arising from conflict. While not all war poetry is explicitly "anti-war," it invariably grapples with profound questions of identity, innocence, guilt, loyalty, courage, compassion, humanity, duty, desire, and death. Two poems that vividly illustrate this are Wilfred Owen’s Dulce et Decorum Est and Rupert Brooke’s The Soldier. Although their perspectives on war differ, both explore the existential and moral complexities associated with it.

Wilfred Owen’s Dulce et Decorum Est is a harrowing critique of the glorification of war. Through visceral imagery and poignant language, Owen questions the notion of duty and the loss of innocence in the face of brutal conflict. The poem opens with a graphic depiction of soldiers "bent double, like old beggars under sacks," challenging the idealized image of noble warriors. The physical and emotional toll of war is evident as the men, stripped of their youth and vigor, are reduced to mere shadows of themselves. Owen’s account of a gas attack, culminating in the haunting image of a dying soldier "guttering, choking, drowning," underscores the inhumanity of war. The poem’s conclusion, addressing the "old Lie" of the Latin phrase Dulce et decorum est pro patria mori ("It is sweet and fitting to die for one’s country"), highlights Owen’s denunciation of war’s romanticized narrative. While Dulce et Decorum Est may seem overtly anti-war, its true power lies in its exploration of the human cost of war—identity reduced to suffering, innocence shattered, and the moral anguish of witnessing death.

In contrast, Rupert Brooke’s The Soldier presents an idealistic and

patriotic view of war. Written in the early stages of World War I, the poem reflects the prevailing sense of duty and loyalty to one’s nation. Brooke personifies England as a nurturing mother, whose "flowers to love" and "ways to roam" have shaped the speaker’s identity. The poem’s serene tone and imagery evoke a sense of honor and peace, even in death. The speaker envisions his sacrifice as a noble act, asserting that "there’s some corner of a foreign field / That is forever England." For Brooke, dying in war is not a loss but a transcendence—an opportunity to perpetuate the values and spirit of one’s homeland. However, even within this idealism, The Soldier wrestles with questions of identity and desire. The speaker’s willingness to give his life reveals the complexity of loyalty and the interplay between personal sacrifice and collective duty.

Together, these poems reveal that war poetry is not confined to being "anti-war" but is deeply concerned with life’s essential questions. Owen’s Dulce et Decorum Est emphasizes the suffering and moral ambiguity of war, while Brooke’s The Soldier reflects the allure of patriotic devotion. Both explore identity—whether fractured by trauma or solidified by allegiance—and engage with themes of death, duty, and humanity. War poetry, in its various forms, serves as a lens through which we confront the paradoxes of human existence, the fragility of life, and the enduring complexities of conflict.

3)  Comparing Ivor Gurney's The Target and Wilfred Owen's Dulce et Decorum Est

Ivor Gurney’s The Target and Wilfred Owen’s Dulce et Decorum Est are poignant reflections on World War I, yet they differ significantly in their tone, themes, and perspective. Both poems depict the grim realities of war, challenging romanticized views of conflict, but they do so in distinct ways, shaped by the poets’ unique experiences and sensibilities.

Similarities:

Realism and Brutality: Both poems starkly depict the harrowing realities of war. Gurney’s The Target expresses a soldier’s anguish over killing another man, reflecting the emotional toll of taking life in battle. Similarly, Owen’s Dulce et Decorum Est conveys the physical suffering and horror of war, exemplified by the gas attack and the vivid image of a soldier “guttering, choking, drowning.”

Anti-Romanticism: Both poets challenge the glorified view of war. In The Target, Gurney questions the morality of war and the justifications for violence, while Owen directly critiques the propaganda that idealizes dying for one’s country, condemning the “old Lie” of patriotic sacrifice.

Focus on the Individual Soldier: Both poems center on the individual soldier’s perspective, emphasizing personal suffering over grand historical narratives. Gurney presents a soldier’s internal conflict and guilt, while Owen immerses readers in the physical and psychological toll of war.

Differences:

Tone and Perspective: Gurney’s The Target is introspective and contemplative, focusing on the soldier’s moral dilemma and emotional struggle. The speaker wonders how he will face his mother after taking another’s life, revealing the intimate human cost of war. In contrast, Owen’s Dulce et Decorum Est adopts a more accusatory tone, aiming to expose the deceit of war glorification through vivid, almost journalistic detail.

Themes of Guilt and Death: Gurney’s poem is deeply preoccupied with guilt and moral accountability. The speaker wrestles with his conscience, reflecting on the weight of his actions. Owen’s poem, while addressing death, focuses more on the physical suffering and dehumanization of soldiers, portraying them as victims of societal lies rather than moral agents.

Expression of Emotion: Gurney’s tone is personal and reflective, seeking understanding or redemption. Owen, however, is overtly critical, channeling anger and frustration into his condemnation of those who perpetuate war’s myths.

Conclusion :

In comparing war poems from the English literary canon and those studied in this unit, it becomes evident that war poetry explores universal human experiences beyond mere anti-war sentiments. For instance, Wilfred Owen’s Dulce et Decorum Est and Ivor Gurney’s The Target both confront the brutal realities of war but do so with different emphases. Owen critiques the glorification of war through vivid imagery of suffering, while Gurney reflects on the soldier’s moral conflict and guilt.

Similarly, these works engage with themes such as identity, loyalty, and death, resonating with the idea that war poetry addresses life’s "large questions." While Owen adopts a direct and accusatory tone, Gurney’s introspective style reveals a personal struggle. Both, however, reject romanticized portrayals of war, uniting in their commitment to capturing its raw human cost. Through their language and tone, these poets demonstrate the enduring complexity of war’s impact on humanity.

Additional Resource:

Reference:

“Compare and Contrast Dulce et Decorum Est and Charge of the Light Brigade.” Bartleby, https://www.bartleby.com/essay/Compare-and-Contrast-Dulce-Et-Decorum-Est-FKNH54L3RZYA#:~:text=Dulce%20Et%20Decorum%20Est%20is,more%20of%20a%20positive%20tone. Accessed 22 Dec. 2024.

Owen, wilfred. “Dulce et Decorum Est.” Poetry Foundation, Poetry Foundation, www.poetryfoundation.org/poems/46560/dulce-et-decorum-est. Accessed 19 Dec. 2024.

Words of the Year 2024 | Brain Rot and Manifest

This blog task assigned by Dr.Dilip Barad sir. Here is the link to the professor's blog for background reading: Click here 

The Words of the Year 2024 reflect significant cultural and societal trends as recognized by major dictionaries:

1. "Brain Rot" (Oxford):

This term addresses We concerns over mental and intellectual decline linked to excessive consumption of trivial online content. Its usage surged by 230% between 2023 and 2024, emphasizing growing awareness of digital overconsumption and its effects.

2. "Manifest" (Cambridge):

Chosen due to its widespread use in discussions of visualization and affirmations, often linked to achieving goals. This word gained prominence through platforms like TikTok, where hashtags and videos showcased its popularity in self-help contexts.

3. Additional notable mentions include "Brat" (Collins), highlighting a bold, independent attitude inspired by pop culture, and "Enshittification" (Macquarie), describing the decline of online platforms due to profit-driven decisions.

These selections reveal the intersection of digital culture, self-improvement movements, and societal critiques in shaping modern language trends.