"Animal Farm" THEME 1 -- George Orwell's "Animal Farm" ... from 60second...

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Second year second semi : The Purple Dress Notes

Certain writers have a way of telling their stories and bring them to an unexpected ending. O. Henry, born

Second Year 2nd semi : The Purple Dress text

Title: The Purple Dress
Author: O Henry


We are to consider the shade known as purple. It is a color justly in repute among the sons and daughters of man. Emperors claim it for their especial dye. Good fellows everywhere seek to bring their noses to the

"Animal Farm"

"Animal Farm"

Glossary of Literary Terms by Abrams : First Years 2nd semi

Glossary of Literary Terms by Abrams

Analysis of Daya Dissanayake's poem interview : First Year 2nd semi

Personal Analysis of interview

Unemployment rate is high among people with the highest

interview

interview

I didn’t bring my C.V.
Name -Date of birth -

                                                  Address -

               G.C.E. O/L five, three

                A/L bio one C, Two S

      any job will do

                  One hundred thousand

 square peg

vying for

                half a dozen round holes

                                                                                the carpenter

 keeps on turning out

                   thousands more of square  pegs

           no one bothers to tell him

      all the holes are round 

 and too few

First Year Second Semester : Model Question Paper - 2013

Model Question Paper - 2013

First Year Second Semester

First year 2nd semi Nadine Gordimer’s "The Defeated"

Web material 

Paper of Literary Criticism

First Year 2nd semi : Defeated

Web material 

Nadine Gordimer: Who is Defeated?

First year 1st semi : Ozymandias

This article is taken from the website.

Analysis and interpretation of Ozymandias

1817 draft by Percy Bysshe Shelley, Bodleian Library

First year 2nd semi notes : Stopping by Woods on a Snowy Evening

Following article is taken from website.

Major Themes of Stopping by Woods on a Snowy Evening

First year 2nd semi: Stopping by Woods on a Snowy Evening: Themes

This article is taken form the website.

Stopping by Woods on a Snowy Evening: Themes

Beauty

This poem presents nature as a standard of beauty that is so strong that it captures the

First year 2nd semi notes: THE SLAVE’S DREAM ( Updated 21.11.2013)

Following article is taken form the website.

THE SLAVE’S DREAM

Henry Wadsworth Longfellow

About the author:

Animal Farm Visual Representation of Characters

SECOND YEAR 2nd SEMI SEMI ASSIGNMENT TOPICS. DEADLINE 30.11.2013. No papers will be accepted after the deadline !!

Second Year 2nd Semester Assignment 

Deadline for submitting the assignment is 30.11.2013. No papers will be accepted after the deadline !!

FIRST YEAR 2nd SEMI ASSIGNMENT TOPIC.. DEADLINE 30.11.2013 , NO PAPERS WILL BE ACCEPTED AFTER THE DEADLINE !!

First Year 2nd Semester Assignment 

Deadline for submitting the assignment is 30.11.2013. No papers will be accepted after the deadline !!

First Year 2nd semi : Analysis of ‘Unworthy Gift’

Personal Analysis of ‘Unworthy Gift’

The poem ‘Unworthy Gift’ by Rabindranath Tagore expresses the importance of spirituality

First Year 2nd semi Attention !! Notes Updated !!

NOTES FOR THIS SEMESTER IS UPDATED IN YOUR CLASS MAIL. 

DO SEND US THE EMAIL REQUESTING FOR THE NOTES AND WE WILL FORWARD IT.

First Year 2nd semi: Model paper will be up dated on 17. 11.2013

Phonetics - Basic Segments of Speech (Consonants) (+playlist)

http://www.youtube.com/v/jF9qTJD25Ig?version=3&list=TLGvO2xwThbUSvg-sf2NmBtU_SGk8DOMvw&feature=share&autoplay=1&autohide=1&attribution_tag=z6I3SBMCO-vfqPOVVA0NqQ&showinfo=1

Phonetics - Basic Segments of Speech (Vowels I)

http://www.youtube.com/v/xa5bG_wrK7s?autohide=1&version=3&showinfo=1&autohide=1&autoplay=1&attribution_tag=CWBxwbqecWWyxj-yYy3pOw&feature=share

Linguistic Fundamentals - Language and Linguistics

Linguistic Fundamentals - Language and Linguistics

Second Year 2nd semi: Model Question Paper - 2012

Model Question Paper - 2012

English (Part Time)

01. (i) ) Identify one of the following extracts and comment on the relevance of it to the larger context with

Ozymandias video lecture

Ozymandias video lecture

First Year 2nd semi: Video Lecture Ozymandias

Lecture:
http://education-portal.com/academy/lesson/percy-shelleys-ozymandias-analysis-and-themes.html


Movie:
http://archive.org/details/Ozymandias

First Year 2nd semi : Ozymandias

"Ozymandias"

The first-person poetic persona states that he met a traveler who had been to “an antique land.” The traveler told him that he had seen a vast but ruined statue, where only the legs remained standing. The face was sunk in the sand, frowning and sneering. The sculptor interpreted his subject well. There also was a pedestal at the statue, where the traveler read that the statue was of “Ozymandias, King of Kings.” Although the pedestal told “mighty” onlookers that they should look out at the King’s works and thus despair at his greatness, the whole area was just covered with flat sand. All that is left is the wrecked statue.

Analysis

"Ozymandias" is a fourteen-line, iambic pentameter sonnet. It is not a traditional one, however. Although it is neither a Petrarchan sonnet nor a Shakespearean sonnet, the rhyming scheme and style resemble a Petrarchan sonnet more, particularly with its 8-6 structure rather than 4-4-4-2.

Here we have a speaker learning from a traveler about a giant, ruined statue that lay broken and eroded in the desert. The title of the poem informs the reader that the subject is the 13th-century B.C. Egyptian King Ramses II, whom the Greeks called “Ozymandias.” The traveler describes the great work of the sculptor, who was able to capture the king’s “passions” and give meaningful expression to the stone, an otherwise “lifeless thing.” The “mocking hand” in line 8 is that of the sculptor, who had the artistic ability to “mock” (that is, both imitate and deride) the passions of the king. The “heart” is first of all the king’s, which “fed” the sculptor’s passions, and in turn the sculptor’s, sympathetically recapturing the king’s passions in the stone.

The final five lines mock the inscription hammered into the pedestal of the statue. The original inscription read “I am Ozymandias, King of Kings; if anyone wishes to know what I am and where I lie, let him surpass me in some of my exploits.” The idea was that he was too powerful for even the common king to relate to him; even a mighty king should despair at matching his power. That principle may well remain valid, but it is undercut by the plain fact that even an empire is a human creation that will one day pass away. The statue and surrounding desert constitute a metaphor for invented power in the face of natural power. By Shelley’s time, nothing remains but a shattered bust, eroded “visage,” and “trunkless legs” surrounded with “nothing” but “level sands” that “stretch far away.” Shelley thus points out human mortality and the fate of artificial things.

The lesson is important in Europe: France’s hegemony has ended, and England’s will end sooner or later. Everything about the king’s “exploits” is now gone, and all that remains of the dominating civilization are shattered “stones” alone in the desert. Note the use of alliteration to emphasize the point: “boundless and bare”; “lone and level.”

It is important to keep in mind the point of view of “Ozymandias.” The perspective on the statue is coming from an unknown traveler who is telling the speaker about the scene. This helps create a sense of the mystery of history and legend: we are getting the story from a poet who heard it from a traveler who might or might not have actually seen the statue. The statue itself is an expression of the sculptor, who might or might not have truly captured the passions of the king. Our best access to the king himself is not the statue, not anything physical, but the king’s own words.

Poetry might last in a way that other human creations cannot. Yet, communicating words presents a different set of problems. For one thing, there are problems of translation, for the king did not write in English. More seriously, there are problems of transcription, for apparently Shelley’s poem does not even accurately reproduce the words of the inscription.


Finally, we cannot miss the general comment on human vanity in the poem. It is not just the “mighty” who desire to withstand time; it is common for people to seek immortality and to resist death and decay. Furthermore, the sculptor himself gets attention and praise that used to be deserved by the king, for all that Ozymandias achieved has now “decayed” into almost nothing, while the sculpture has lasted long enough to make it into poetry. In a way, the artist has become more powerful than the king. The only things that “survive” are the artist’s records of the king’s passion, carved into the stone.

Perhaps Shelley chose the medium of poetry in order to create something more powerful and lasting than what politics could achieve, all the while understanding that words too will eventually pass away. Unlike many of his poems, “Ozymandias” does not end on a note of hope. There is no extra stanza or concluding couplet to honor the fleeting joys of knowledge or to hope in human progress. Instead, the traveler has nothing more to say, and the persona draws no conclusions of his own.

Sited in :
http://www.gradesaver.com/percy-shelley-poems/study-guide/section4/

First year :Arms and the Man movie

"Arms and the Man", by George Bernard Shaw - Free PDF

"Arms and the Man", by George Bernard Shaw - Free PDF

Give a try !

Check your Pronunciation with Poem

Here is a poem to Practice English Pronunciation. If you can pronounce all these words correctly, your pronunciation is correct.

Dearest creature in creation,

Study English pronunciation.

I will teach you in my verse

Sounds like corpse, corps, horse, and worse.

I will keep you, Suzy, busy,

Make your head with heat grow dizzy.

Tear in eye, your dress will tear.

So shall I! Oh hear my prayer.

Just compare heart, beard, and heard,

Dies and diet, lord and word,

Sword and sward, retain and Britain.

(Mind the latter, how it’s written.)

Now I surely will not plague you

With such words as plaque and ague.

But be careful how you speak:

Say break and steak, but bleak and streak;

Cloven, oven, how and low,

Script, receipt, show, poem, and toe.

Hear me say, devoid of trickery,

Daughter, laughter, and Terpsichore,

Typhoid, measles, topsails, aisles,

Exiles, similes, and reviles;

Scholar, vicar, and cigar,

Solar, mica, war and far;

One, anemone, Balmoral,

Kitchen, lichen, laundry, laurel;

Gertrude, German, wind and mind,

Scene, Melpomene, mankind.

Billet does not rhyme with ballet,

Bouquet, wallet, mallet, chalet.

Blood and flood are not like food,

Nor is mould like should and would.

Viscous, viscount, load and broad,

Toward, to forward, to reward.

And your pronunciation’s OK

When you correctly say croquet,

Rounded, wounded, grieve and sieve,

Friend and fiend, alive and live.

Ivy, privy, famous; clamour

And enamour rhyme with hammer.

River, rival, tomb, bomb, comb,

Doll and roll and some and home.

Stranger does not rhyme with anger,

Neither does devour with clangour.

Souls but foul, haunt but aunt,

Font, front, wont, want, grand, and grant,

Shoes, goes, does. Now first say finger,

And then singer, ginger, linger,

Real, zeal, mauve, gauze, gouge and gauge,

Marriage, foliage, mirage, and age.

Query does not rhyme with very,

Nor does fury sound like bury.

Dost, lost, post and doth, cloth, loth.

Job, nob, bosom, transom, oath.

Though the differences seem little,

We say actual but victual.

Refer does not rhyme with deafer.

Foeffer does, and zephyr, heifer.

Mint, pint, senate and sedate;

Dull, bull, and George ate late.

Scenic, Arabic, Pacific,

Science, conscience, scientific.

Liberty, library, heave and heaven,

Rachel, ache, moustache, eleven.

We say hallowed, but allowed,

People, leopard, towed, but vowed.

Mark the differences, moreover,

Between mover, cover, clover;

Leeches, breeches, wise, precise,

Chalice, but police and lice;

Camel, constable, unstable,

Principle, disciple, label.

Petal, panel, and canal,

Wait, surprise, plait, promise, pal.

Worm and storm, chaise, chaos, chair,

Senator, spectator, mayor.

Tour, but our and succour, four.

Gas, alas, and Arkansas.

Sea, idea, Korea, area,

Psalm, Maria, but malaria.

Youth, south, southern, cleanse and clean.

Doctrine, turpentine, marine.

Compare alien with Italian,

Dandelion and battalion.

Sally with ally, yea, ye,

Eye, I, ay, aye, whey, and key.

Say aver, but ever, fever,

Neither, leisure, skein, deceiver.

Heron, granary, canary.

Crevice and device and aerie.

Face, but preface, not efface.

Phlegm, phlegmatic, ass, glass, bass.

Large, but target, gin, give, verging,

Ought, out, joust and scour, scourging.

Ear, but earn and wear and tear

Do not rhyme with here but ere.

Seven is right, but so is even,

Hyphen, roughen, nephew Stephen,

Monkey, donkey, Turk and jerk,

Ask, grasp, wasp, and cork and work.

Pronunciation — think of Psyche!

Is a paling stout and spikey?

Won’t it make you lose your wits,

Writing groats and saying grits?

It’s a dark abyss or tunnel:

Strewn with stones, stowed, solace, gunwale,

Islington and Isle of Wight,

Housewife, verdict and indict.

Finally, which rhymes with enough —

Though, through, plough, or dough, or cough?

Hiccough has the sound of cup.

My advice is to give up!!!