 Institutes of Technology and Indian Institute of Science. As you are aware, these lectures offer students in the IITs and other engineering colleges and the role of humanities and social sciences is quite significant in the curriculum of engineering students. I am Krishna Barua, I teach literature at IIT Guwahati and it has been a wonderful experience sensitizing the students to literature and to social sciences. As you are aware, these lectures are titled literature and language. We are in the module 3 of English language and literature, which is titled History of English Literature and we are at lecture 4, the covering modern literature well. So, let us have a recap of what we had done in the previous lectures. We had started with the necessity of why it is necessary, good to know about the ages, the different ages of history literature and because this gives us an overview of what had happened to the creative output of those times. The first lecture was on the age of saucer and the dominant characteristics as we have seen was more on the love of freedom, a reverence for womanhood, responsiveness to nature and a devotion to glory and the main icon who dominated this age was naturally Geoffrey saucer. And when we do this recap of the lectures that we had done before, it will be good for you to understand how the characteristics of one age goes to the other, just now we had done that the Anglo-Saxon period there was this reverence for nature and you will find again in the age of romanticism that the need for connections with nature, with spirituality, with freedom of the mind again becomes recurrent. When we did lecture 2, which was the age of Shakespeare, we covered the whole age of Shakespeare from the poetic geniuses like Spencer and Sidney to Marlowe and the university of Louis and we found out what was the meaning of Renata, humanism and the emphasis on man as man and the dignity of modern English as a literary medium. And in lecture 3 when we came to module 3 and lecture 3 of Milton and his times, we had seen how Shakespeare and Milton were two figures that towered conspicuously and was representative of the age that produced them and the force of impulse on the one hand which was the age of Shakespeare and the force of fixed purpose which was the age of Milton. In lecture 4 the Augustan age which was very interesting in the sense that it was more the triumph of English prose for the first time, we chronicle the time of the essay, the newspapers and the way that the novel took into its came out. The history of the book in order to bring about reforms how this brought about ideas, facts, arguments, information, this will be very interesting now while we will be doing lecture 7 of this module, how this age of prose again continued to into modern times and the newspaper and the magazine became the sift instrument of a nation's progress. And Augustan this transition between Augustan period and the Romantic period was a drastic shift in literary ideas. As we had gone to lecture 6 which was the Romantic age, we found that there was a drastic shift and the middle of the 18th century was a period of transition and experiment not only in poetic styles and subjects. So, while we do each age we find that this transition do takes place and at the same time we find that some of the main characteristics of what really marked the age is carried over to the other, it is not that the innovation comes out all of a sudden. The stability which English thought in society regained at the end of the 17th century could not in a nature of things belong maintained and we see that it gave way to more complex and more obviously contradictory attitude where a view of the value of life in urban society was emphasized. And when we came to lecture 5 of the Romantics, it was a literary movement and profound shift in sensibility and the stylistic keynote of Romanticism as we had done was intensity, impassioned involvement in whatever we were doing and the watch word was imagination. And Romanticism therefore, we have seen was shifts in view of the nature and function of poetry in relation to the poem to the poet, the role of the poet, what does he write, literary theory also came into, poetics came into being and poetry became the major functioned expression of the poet's emotion. And the main aspect of the Romantic age was the spiritualizing of nature and the humanizing of social life. When we came to the Victorians in lecture 6, the reign of Queen Victoria, we found the democracy, the long struggle of Anglo-Saxons which we had done in lecture 1. Our personal liberty is settled, we have the House of Commons, we have this participation of people in the governance, enormous political, social and cultural innovation and change, great advances in science, the scientific treaties and technology and the arts. Now we come to module lecture 7 of module 3, History of English Literature, the Modern Period which is very contemporary, which I hope you will enjoy and you can relate to, because how it has traveled the journey of this literary creations, how it has traveled through all these ages and you may have seen the dominating aspects which were there and which were also some qualities which were dormant and the key notions when we look into it, this period says the end of the long reign of Queen Victoria which was about 1901 and of the stability which the country had so long enjoyed. After the beginning of the 20th century through roughly 1965, so the modern period we can say it carries almost after the beginning of the 20th century, almost at the end of the 19th century also some writers were writing at that period and till roughly 1965 and the Edwardian and Georgian periods are named just after Queen Victoria, these are called also the Edwardian and Georgian periods, we will just very quickly go through them and the Monarchs of King Edward and King George from 1910 to 1936 and also another political event the first world war 1914 to 1918, which was a series of cultural shocks that the people encountered and the British empire by this time was coming apart. So, there was a lot of political associations in the literary creativity of the time and this birth of modern literature when we look into it, who are the key players in this field? We have Hardy, we have James, we have Conrad Wells, Bernard Shaw, St. G. H. Bridges to name just a few. So, why do we call it the modern period or what do we understand by modernism as a key concept? So, let us go into the literary characteristics of the modern period and particularly it has been said like the Augustine period it was an age of prose and the age of the newspaper, the magazine and the modern novel. So, you see that it is almost as if again the Augustine period has been reinstated in the modern period. The term modernism let us just look into the understanding of the definition of modernism as such which is a very complex term refers to the radical shift in aesthetic and cultural sensibilities evident in the art and literature of the post world war one period. There is a veritable exchange between the visual culture, visual arts and what was happening in the cultural field and the literary output. The immense panorama of fertility and anarchy which is contemporary history this is what T. S. Eliot had said. Modernism does marks a distinctive break with Victorian bourgeois morality and of Decorum rejected 19th century optimism. They presented a profoundly pessimistic picture of culture in this array. So, this was the sort of alienation or angst or in eye that you felt against the Victorian complete sense. This despair often results in an apparent apathy and moral relativism. Well, so definition of modernism as I have just now told you that it has close connection with the parallel movements which was going on in the visual arts, especially in painting. It comes from the aesthetic movement broadly labeled modernism with 20th century western ideas about art. How art has to be represented? Is it about form? Is it about imitation? Is it about psychological consciousness which represents? Is it about the mind? So, modernism is the movement in taken broadly. We have to understand in visual arts, music, literature, drama even in medicine which rejected the old Victorian standards of how art should be made, consumed and what it should be. Mostly in psychology we will find that how one aspect of psychoanalysis ultimately led to the stream of consciousness novels also to the different novels of Dostoyevsky and the rest. In the period of high modernism which period was that? From around 1910 to 1930 the major figures of modernist literature helped radically to redefine what poetry and fiction should be and do. So, what is the role of poetry? What is the role of fiction? So, you find a lot of poetics which is also involved with the creative act. Figures like Virginia Woolf, James Joyce, T. S. Eliot, Ezra Pound, Stevens, Proust, Malam, Kafka and Wilke, German poem. Poets are considered the founders of 20th century modernism. Modernist argued for multiple ways. So, let us look into the actual you know horizon of what is modernism is for multiple ways of looking at the world. It is not just one subjective viewpoint and it is the different ways that you look at the world and blurred the Victorian dichotomies by presenting anti-heroes, uncategorizable persons and anti-art movements like that. So, you find that this was a huge panorama of multiple perspectives which they explored. So, it was not something which was connected with a pre-destined or preconceived notion of what a novel should be, of what a character should be, does it follow the lines which traditionally one says one should follow and about morality and it was an age of cultural relativism. Modernist writers tended to see themselves as an avant-garde disengaged from bourgeois values and disturbed their readers by adopting very complex and difficult new forms and styles. So, the question was not only in the thematic content in all the subjects that they wrote, it was also in the different techniques that they employed whether the role the styles and the new forms and styles were completely awe inspiring and it was shocked the reader into acceptance that this could be something new and this something new itself is some is one of the tenets of modernism. After the first world war as we have just mentioned the idea of English literature changed radically in the beginning of a vibrant ethnic diversity. So, there were so many voices which were coming out from different parts of the world included voices as geographically diverse as Canada, New Zealand, India, the Caribbean and Africa. So, this sense of alienation or that is the distance between the serious artists and the general public that marked early 20th century grew out of this sense of art for art sake. So, you are doing it for the sake of art not art for may be life sakes which of course, later we find in some of the realist novels, but at the same time we find this experimentation with form and sudden and unexpected breaks with traditional ways. So, there are ambiguities here contradictions here we will find T. S. Eliot in his essay tradition an individual talent will say that to be modern is also to be traditional in the sense that you have to know about your past. It is not that you go back to the past, but the past has to be somehow or the other modified by the present and in that sense you have a almost different role a very vibrant and dynamic role to play in societies. So, when we go into the political background we know that in 1930s were known as the red decade about the political era the more generic and mass produced popular literature came into being and the more experiment and challenging and avant-garde. So, there was hardly any difference between the high and the low popular culture popular literature came into being indeed a central preoccupation of modernism is with inner self and consciousness. And this was experiments in literary form therefore, we found in poetry in the novel and in the drama we had just said that it was not only in the matter, but also in the manner of writing whether in poetry or drama or in the novel that you found that there was experimentation going on which was never so much done as it was done now. Studies meanwhile can involve many interrelated activities critical and creative textual and intertextual. So, the borderlines between genres also where it became very fluid it was not something which was dynamic textual and intertextual engaging individual and groups. Typical literary products of the period the spread of education not only was there a larger market than ever before for the classics and for all types of fiction, but there arose an entirely new demand for works in educational fields science history and travel. So, the demand of the public was for all this type of new subjects of interest. The literature became a vehicle for the sociological studies, social propaganda, discussion play and the novel of social purpose well. So, this when let us examine now how this sense of dissolution and instability was reproduced or how it was represented in literature. As WBH said the centre cannot hold as if it was decentralized everything had to be decentralized fragmented and it was as if many narratives came out. So, the development of psychoanalysis and of comparative mythology just now we said that going back to tradition did not mean that you are less modern, but you have to be abreast with understanding the states of the mind. So, the field of psychology also offered immeasurable avenues for exploration then we had comparative mythology of different lens of different people which also brought in the exotic and the strangeness to the idea of being modern. So, experimentation with genre and form and individualism at the same time you are unique because you have done it in your own way. There was various belief systems were explored through myth through parables to oral literature and Ezra Pound one of the leading poets provided British modernism with its paradigmatic motto make it new. So, this is making it new itself which every writer every creative poet or a dramatist where some was some his contribution was something new. New theories of relative activity and quantum mechanics in science also helped in how to transfer this in the understanding of existence. Indeed therefore, if we look into what is modernism and post-modernism also which comes later of course, after the time of modernism may be from 1970 onwards indeed a central preoccupation of modernism is with the inner self and consciousness. Just now we had referred to psychoanalysis. So, the mind of man with all its mysteries with all its fluctuations with all its lateral thinking was the subject of discourse not only the subject of discourse, but also the technique of how the mind operated was being transferred into the creative process. Experiments in literary form therefore, we found emphasis on fragmented forms, discontinuous narratives and random seeming collages of different materials, minimalist designs all this formed in a different type of representation. Emphasis on impressionism we know that parallel movement in the arts was going on as we said in the beginning of the lecture that modernism actually was a concept which had come from the visual arts. And therefore, the impressionist the post impressionist and subjectivity in writing were being going side by side and emphasis on how we saw rather than on perception itself takes place rather than on what is perceived what is being perceived, but how you see it. So, there are the layers of consciousness which are being explored and how a person sees an object. So, there is a blurring of distinction between genres. So, let us look into the literary history now, look the output of poetry as we had said the Georgian period and decadence and war poetry we will just touch on them. When adopting Peter who adopting Peter as their prophet in art for art sake as the slogan with a number of other poets form the rhymers club. So, we were doing the aesthetic movement and we found that Peter was one of the initiators one who had started this and a more vital and positive out took appeared in the work of the maturing its and of bridges Robert Bridges while Kipling was already introducing a new and receive bigger into English poetry. At this time also just after the first world war we find that Wilfred Owen dominates the scene the war poets and he is regarded by historians as the leading poet of the first world war known for his war poetry. Owen he specially brought about his para rhyme and he was the one who was influenced by Tagore who was writing his Gitanjali and when he went to war he had in his pocket a copy of Gitanjali. We have during the last part of the 19th century Geryl Manly Hopkins who was one who had brought out great experimentation in form specially not only in content and he brought a fresh way to look at rhythm and word uses and he more or less invented his own poetic rhythms the sprung rhythms and his own vocabulary and he coined his own word for things. Hopkins had no formal training in poetry and this model the self taught artist Hermit who has no desire for public adulation would become synonymous with the poet in the modern age. So, this is the poet who is one who is a wanderer who is looking into the sense of life who is looking into a language which represents the actual experience of what one has to see even though alienation was nearly universal experience of modern poets the relationship that poets had with the world was very very real. This is what I am telling you that this question of searching for the essence searching for the truth was a very modern concept not only in poetry, but also in drama as well as in prose. So, therefore, when we look into the poetic stylistics or the technique of writing a poem we found that there was apart from what we had just done Geryl Manly Hopkins or Wilfred Owen whose the conditions of the they brought about their own representation we had a group who had brought in a revolution in poetic taste and practice. So, the rejection of the view of poetry represented by Palgrave's golden treasury in favor of one who saw poetry as at the same time more symbolic and more cerebral more intellectual. So, it was not the traditional poems which Palgrave had brought in in the collection of his poem this revolution was an Anglo-American achievement. So, it came from across the the the seas T. S. Eliot and Ezra Pound were in large measure its leaders they were influenced by the French symbolists no doubt, but they had brought in their own theoretical ammunition was supplied of course, by T. E. Hirm few of those in the new movement accepted the complete balance sheet as Hirm prepared it, but many were influenced by his insistence on hardness and clarity. So, it has to be clear and hard the objects it is almost like real case thing poets as if the whole object has to strike you the physical object has to strike you by its clarity and his war on self expression as a literary ideal. Well, so let us look at this interconnections which is going on between a forticism which was a movement in arts and between the writing of poetry. Ezra Pound aligned himself with Wyndham Lewis's forticism around 1914 probably because it offered the seduction of an alliance between painting sculpture and literature and because Lewis movement more resemble cubism and featureism this were different movements which came later. Imagism as a literary movement therefore, we are coming to a form of poetry which was called imagist poetry or imagism. So, what was this this was a literary movement did not adopt the global and confrontational stance of featureism setting out the intention in a defined manifesto printed in the journal Blas the vortices saw themselves as an audacious new movement in British art and an alternative to cubism, expressionism and the Italian featureist. So, you found that vorticism was another movement which was an answer almost to what was happening across the borders in cubism expression in Europe all over an Italian featureist. If we examine Ezra Pound's that poem in a station of the metro written in 1916 let me read it out this is almost based on the haiku poems of the Japanese 7th syllable poems. This is the poem the apparition of this faces in the crowd battles on a wet black bow. So, you can just see hard images which has come in and this makes the whole poem a station of the metro he writes about how this facial aspect of color of hard images inspired him to write and of course, the oriental conditions of representation as he writes that every concept every emotion presents itself to the vivid consciousness in some primary form this was what I was telling you just now about going for the essentials in the basic form in the primary form even if it is color it is in its primary color even if it is thought it has to be in its primary sense it belongs to the art of this form. I do not mean that I found words, but there came an equation not in speech, but in little splotches of color this equation between the visual culture and in painting or in how a painter or an artist is the world it was just that a pattern. So, he looked at the patterning of if by pattern you mean something which I repeat in it, but it was a word the beginning for me of a language in color. So, the dimensions of color has been transported or the dimensions of pigment has been transported to literary creativity. We had just mentioned just now that the French symbolic poets like Charles Baudelaire all this had a great influence upon the modernists especially the modern poets they were admired for the sophistication of their imagery not only because of what they said on the surface, but because of the implied symbolism of every object that they portrayed it may go back to many associations may be dealing with mythic social anthropological and literary and it was the invention of verse labor that was adopted by the images which they called the free verse. The symbolists wanted to be precise in order to be properly suggestive, precision, individuality and exact curve of the thing and maximum symbolic projection of meaning were seen as going together. We find the symbolist movement again being experimented in the novels of Ernest Hemingway later and when he talks about the theory of implication where a word carries in layers of subtle meanings and, but the word itself is very precise and very clear and it is not being adorned by any adjectives or adverbs. The poet was the explorer of experience who used language in order to build up rich patterns of meaning. So, language became a tool to write simply, but at the same time to write with meaning required repeated close examination before they communicated themselves fully to the reader. So, what was free verse as we have seen how they were influenced by different symbolists poetry organized to the cadences of speech and image pattern. So, now poetry becomes more closer to the colloquial speech, the rhythms of colloquial speech and image patterns rather than according to a regular matrix scheme. So, it was more or less the music of ideas than the music of and the rhythm was the rhythm of ideas and a very very cerebral form of jugglery of words or you can say cerebral form of exercise poetry became very intellectual. Its rhythms are based on patterned elements such as sounds. So, these rhythms were not only based on rhyme or meter, but it was on patterned elements such as sounds, words, phrases, sentences, paragraphs, constant vacillation between adherence to and departure from rhyme and regular meter. So, you could explore in different ways, you could bring in even prose, you can bring in drama, you can bring in phrases and there was this complete juxtaposition between the old and the new. It is this contrast between fixity and flux which is fluid at the same time which is the very life of verse Eliot claims concluding that the division between conservative verse and verse liver does not exist and he says we cannot distinguish between conservative verse and verse liver because there is only good verse, there can be only good verse, bad verse and chaos this was his line. So, the images movement we are paying much attention to it here more than the other movements because it was very modern in its conception and in the way that not only in the way that they wrote, but also in the way that they brought about the themes of their poetry. Demanded clear and precise images which we have already done elimination of every word that did not contribute to the presentation. Just now I told you that this completely almost unadorned spare style and very clear hard visual images and a rhythm freed from the artificial demands of metrical regularity. The images among them as your pound who was one of the pioneers sought to boil language down to the absolute essence as we saw in the station in a metro. This poem which is so suggestive of what you see graphically as well as how it strikes you as a poem. They wanted poetry to concentrate entirely upon the thing itself in the words of critic poet Humb, minimalist language and a kind of directness. A new call some might say mechanized poetics. Images poetry was almost always short unripe and noticeably very sparse in terms of adjectives and adverbs. It was natural language at the same time and let me remind you that we had even in the 10th century the haiku poems, poets poems of the Japanese and they also experimented with this form. And Ezra Pound was influenced by this form of poetic technique and the 17 syllable poem and this is where he talks about the sparness, the sparseness, the understanding of space, the understanding of nature, the understanding of essence in which the words unadorned words can be represented. Complex, elusive using abrupt contrast and shifting counter suggestions to help unhold the meaning. This juxtapositions between different different images eliminating all conjunctive phrases depending entirely on the music of ideas like Eliot's long poem, The Wasteland. We have proof of two was the first major example of the new poetry and it remains a watershed in both English and American literary history. Many people say Eliot's long poem The Wasteland in 1922 was the first major example of new poetry. So, while we are doing the images movement naturally we come to T. S. Eliot and T. S. Eliot dominates the scene. T. S. Eliot would eventually settle in England of course, even though he was from American origin where he would produce some of the greatest poetry and criticism of the last century. Eliot picked up where the images left off while adding some of his own peculiar aesthetics to the mix. When we try to understand aesthetics we have to remember it deals with beauty, it deals with form, it deals with design, it deals with poetics, it deals with representation. Therefore, the creative process is itself a very serious process. A poet according to Eliot ultimately has to have a different idea of the world. It is not that he just writes out of his native with, it is that his sensibility has to be cultivated and this cultivation of sensibility is that he has to also have a different idea of how to write a poem. Therefore, a writing poetry or a poet becomes a very serious occupation. His principal contribution to 20th century verse was a return to highly intellectual elusive poetry. When we look into this, all right, elusive poetry, a word denotes so many layers of associations. Therefore, you have to understand the myth connected with it. You have to understand the historical background connected with the word and therefore, this idea of symbolism or the way that an elusive nature of poetry came into being. Even his blueprints were 17th century, even though he went to 17th century metaphysical poems. So, we will come here that his seamlessly moves from very high formal verse into a more conversational easy style. So, his poems that he wrote, sometimes short poems at the same time very long poems which are highly elusive and his poetic voice becomes sometimes colloquial, sometimes mythic, sometimes dramatic. It is this layering of meanings and contrasting of styles that mark modernist poetry in general and T. S. Eliot in particular. So, if I ask you the question, what is modernist poetry? You cannot say that it only deals with something which is new. You have to understand the new methods of how you are transcreating the old myths and fables and how you are juxtaposing them in your way of writing a poem. It is no overstatement to say that Eliot was the pioneer of the ironic mode in poetry. It is almost like the dramatic monologue like we had in the Victorian times, Robert Browning and there were so many irony tools of the drama being transferred to the writing of poetry. That is the set if appearance hiding difficult truths which was the tool of Shakespeare we find how it has been continuing the fluid continuing flow of the river of the literary expressions goes on from one age to the other. Critics often single out the Wesleyan as the definitive sample of modernist literature years, but at the same time Eliot fully displays all the convention which one expects in modernist literature like self, inwardness, consciousness, the laws of traditional structures and a fluid nature to truth and knowledge. So, this radical new experiments and poetry if we look into it as an overview how do we see it? The modernists were not entirely anti-tradition yes do not mistake that right and many like T. S. Eliot argued that modern poets must have an extensive knowledge of tradition which he called the historical sense. We will do a little bit later from his essay tradition and individual talent and you will find that he looked to 17th century metaphysical poets as a sort of inspiration the works of Dan the poets that we had done in the 17th century. Who worked with different experimentation with simile analogies of the literature with comparison with metaphor. Starting new comparison T. S. Eliot's the love song of J. Alfred Prufork it is a beautiful poem which starts like this. Let us go Dan you and I when the evening is spread out against the sky like a patient a theorized upon a table. So this is a completely different startling comparison where the evening is compared like a patient a theorized upon a table and you have to understand the elusive association which goes into this simile that is used. And it appears likely that what he had said in his essay the metaphysical poets this is a quote from the essay. It appears likely that poets in our civilization that is in our civilization in the modern times must be difficult. So you have to bring a cerebral slant to the writing of poetry and in order to be taken seriously you have to be cerebral. And another essay Ulysses order and myth written in 1923 he writes that in manipulating and continuous parallel between contemporaneity and antiquity. So this continuity and antiquity which is being shown. So we had referred to tradition and individual talent the essay which was almost a landmark in writing poetry. And T. S. Eliot wrote that this historical sense which is a sense of the timeless as well as the temporal and of the timeless and of the temporal together is what makes a writer traditional. So many people who tries to understand what is modern poetry what is modern literature go back to this essay and understands in full probably in its own sensitivity how modernism comes into the whole idea of the creative process where he gives this very famous line. It is in this depersonalization that art may be said to approach the condition of science. He allies it to science poetry is not a turning lose of emotion but an escape from emotion. It is not expression of personality but an escape from personality and the emotion of art is impersonal this it goes on emphasizing and the poet cannot reach this impersonality without surrendering himself wholly to the work to be done. So this is just the opposite of what the romantics have said about the subjective response of a heightened sensibility. And we find that it is the whole idea of writing poetry is the impersonal self and the idea of the impersonal self has layers of consciousness layers of understanding of the world around. Well, I think it will not be right if we negate the influence of modern journalism specially in the way of the creative output of the modern times. The newspaper of today has influenced literature both for good or ill maybe some have gone into sensationalism maybe to yellow journalism has led to the output of popular power fiction all even with all this at its worst it has encouraged superficiality in life and letters. But at the same time we have to see this journalism or journalistic mode of writing has also influenced the writing of poetry as well as novel like in a hamming way where you tried to bring out the headlines as it is you had to strike the reader with lines which were full of energy with its clearness, conciseness and reality. Its effect upon poetry can be coached by Gloucester and Mr. Kipling's verse and we had the barrack room ballads through the work of W. B. Henley and John Davidson. Well, now let us go into the different survey different genre all together during the modern times the general survey of the novel. The English novel as we have seen was essentially bourgeois in its origins and throughout the 18th and 19th centuries it was solidly incurred in a social world in the hands of Brontës, Dickens we had all done that George Eliot and Meredith. Its growing importance has been accompanied by serious study of the art of the novelist. So, what is the theory or the critical theory or the criticism which is a technical point of view of writing a novel the art of the novel also burgeoned with the with the growth of the novel well. So, while we are doing the novel let me say that this is a very general survey of the modern times. We may have omitted some of the great poets of the time yes we are doing only the movements which was very very dominant during the time and already we have covered this in the module on genres and probably the continuous exchange between one genre to the other or from one age to the other has been dealt with more in that than here. But here we are doing just the different literary characteristics of the age as an overview and in doing that there may have been some omissions which you can look up in the in the other lectures. Now, when we look at this conception of the novel as an art form we find that the aim and scope of the novel is the technical point of view of the novelist is seriously post in England for the first time and social class and states of mind two things which were subjects of concern. One was it provided human and atmosphere and local color as well as motivation for self advancement. When we look at social class we find that it was not only place for society did not just give you place for introspection and for as a critic of society, but also it was a topic for humor, atmosphere and local color. To believe that impression hold good for others wrote Virginia Woolf of Jane Austen is to be released from the cramp and confinement of personality. Mrs. Woolf intensely personal and individual way of representation depending on subtle shapes of mood and feeling. Now, you will have to see how is this different from the way that poetry was written. If you compare Virginia Woolf's novels with her sudden shapes of mood and feeling you will find that it is subjective at the same time it is very personal and at the same time Eliot had said that one has to be impersonal in writing poetry. So, you find this juxtaposition of different metals of representation. The novel had been moving towards a greater increase in psychological subtlety. So, the states of mind where they were talking about streams of consciousness Henry James in particular had brought a new precision and complexity into the description of states of mind and a new kind of narration. This is what Roland Barthes had written in the essay the literature of replenishment. Let me quote from here. It was a new kind of narration, the radical disruption of linear flow of narrative, the frustration of conventional expectation concerning unity and coherence or plot and character and the cause and effect development thereof. The deployment of ironic and ambiguous juxtapositions. So, this is almost like what had happened in poetry. The adoption of a tone of epistemological self mockery. So, philosophical idea of how you look at yourself aimed at naive naive pretensions of bourgeois rationality. The opposition of inward consciousness again to rational public objective discourse and an inclination to subjective distortion. Mind you, this is subjective distortion to point up the evanescence of the social world of the 19th century bourgeois. So, it was 1920s that a full impact of these three factors the apparent collapse of public standard. There was complete alienation. There was no conformity with the things that were going on. New notions of time, new notions of consciousness which we had done. It was really very remarkable. There was this exploration of new dimensions of consciousness where you could shift from the scientific to the psychological to the literary to the artistic. The isolation of the individual consciousness where every individual was seen to be the prisoner of his unique stream of consciousness. So, every individual if taken in his entirety you will find that he has his own unique way of representation. The difference between the private stream of consciousness and public juxtapositions is emphasized again and again in James Joyce Ulysses. Well, so, this was a new kind of narration as it was a new kind of writing poetry during the images and in T. S. Eliot's time. The unreliable narrator, so, this is a narrator who goes on fluctuating supplemented the omniscient trustworthy narrator of preceding centuries. James Joyce Ulysses is the prime example of a novel whose evils are really the happenings of the mind. If you have read it and I would advise you to read it, you will be taken into pathways of the mind. The goal of his is to translate as well as possible the strange pathways of human consciousness. A whole new perspective came into being known as the stream of consciousness. It is like a stream, the inner space of the human mind and the psychoanalytic theory of Sigmund Freud. We can also refer to Joseph Conradt who was writing, was a deeply pessimistic novelist and his own comments in his novels and stories which are not always to be trusted. He all often describes them as deriving from a simpler ethical impulse than they clearly do. So, he had this moral virtues which he presented of, he was a giant also in the modern field and key to his moral vision. We have Virginia Woolf whom we have mentioned just now, Mrs. Dalloway to the Lighthouse, great modern epics, great modern classics. Then James Joyce faced the implications of the loss of the world of public values. D. H. Lawrence was an English novelist, poet, playwright and says who talked about the living life, the living force, the essence of life about emotional vitalities, spontaneity and instinct more or less and significant representative of modernism in English literature. But we have also to remember the French and the Russian influence. The French we have already seen was a great, the symbolist had a great part to play in the writing of poetry. We have the French and Russian influence in the novel from flower to Jola to Mopasa and Balzac English writers learn the minutely accurate portrayal of everyday life. So, this was the exchange between different borders and the new conception of the novel as an art form in the structure, pattern, style and finish where of fundamental importance. In Dostoevsky, Targinal, Tolstoy they found a new interest in the darker hidden sides of human nature and a different form and structure. This are completely different icons in their own ways. Each one of them has something unique to offer and across the continent, over the continent we find this exchange is way going on. So, therefore, we find another writer, George Augustus Moore confessions of young men, where he really experimented with artistic representation and he wanted to translate it into his own novels. He was an Irishman and absorbs the lesson of the French realist and specially of Emily Jola and many say that his writings in French James Joyce. E. M. Posture also we cannot ignore. He published the last of his five novels that passes to India in 1924. So, it gives a different theme of human relationship and when he had exhausted it on fiction he wrote no more novels. It was mostly about relatedness about the people how they reacted to circumstances in different settings. So, the survival of the romance we have seen in the novel resurrected by Stevenson inspired by Kipling of course, Heights by Conrad whom we had already done. The unusual exotic and the remote they also explored this parts. If we continue in the comic tradition we cannot but fail to mention P. G. O. Thouse. I think he was a favorite among all students, school boys and even adults and he brought in a different social critique of the British aristocrity with all their misunderstanding and endless social rounds. Therefore, we had so many different ideas of I mean different areas of where the novel experimented. The novel of ideas, the social purpose, science fiction, mysteries, fantasies like Harry Potter series, romance like Dr. Javago, then magic realism like Salman Rasty's Midnight Children. Let me now also mention the last generation which was something which have to be looked into in American literature the group of writers and thinkers known as the last generation has become synonymous with modernism. In the wake of the first world war what had happened? Seven American artists had chose to live abroad especially their favorite destination was Paris as they pursued decorative impulse. This included the intellectual Gertrude Stain, the novelist Ernest Hemingway and Ernest Hemingway's novels are famous for the extremely spare, blunt and simple sentences. Many say he is the representative novelist of modern times. All should become relative for Hemingway this meant the abandonment of all ornamental language like we had in images poetry. The first nine of novels if we look into Hemingway's farewell to arms it starts with this line in the late summer of that year we lived in a house in a village that looked across the river and the plain to the mountains you see how it opens. So, simply only the use of the very primary nouns another one from the old man and the sea. He was an old man who fished alone in a skiff in the Gulf stream and he had gone 84 days now without taking a fish. These are the famous first lines of his novels. So side by side with the novel we had already mentioned that the technique and the way that a novel has to be written also was developed. So, the 20th century literary theory was a form of a very dynamic area of study. The subject matter of literary criticism is an art and criticism is evidently something of an art too. Every art however needs his own critical organization and we post the novel as a question since it has been the center of all critical discourse. We had formalism, structuralism, narrator logic, deconstruction, psychoanalysis, Marxism, gender, postcolonialism, reader response, cultural studies all these different ways of critical theory which looked into the novel. Let before we conclude let us look into the rebirth of the drama in the modern times after 100 years of insignificance drama again appears as an important literary form even though it was the age of prose even though you say that it was one way or the other poetry also included into the realm of prose even then we see the drama also showed his presence. Like the novelist most of the important dramatists were chiefly concerned with contemporary social scene and though towards the end of the period there are signs of a revival of poetic drama prose is the normal medium. So, this Ranasan of the drama we can mention Barnard Shaw, Oscar Will, St. and now has this been confined to England we have seen how they had been influenced by Ibsen, Norwegian did for his countrymen Mr. Barnard Shaw and his followers have done for the English drama specially the drama for of ideas which we call and the drama which may be not art for art sake, but art for life sake. The pivotal and innovative contribution of the Norwegian and Rikipsen German Bartel Brakth dominate modern drama tradition of imitators rose up after them which includes many and the greatest playwrights of the modern era. Other important playwrights of the modern era include Arthur Stringbird, Anton Chekhov, Garcia Lorca, Arthur Miller, Enesco, Samuel Beckett, Dario Four. Waiting for Godot many of you must have read that in 1948 first of course it appeared in his French version later it was translated into English it was an absurd drama in which two characters are waiting for someone who never comes a very popular drama at all Arthur Miller's for all my sons and that of a sense man. Now the growth of realism the problem pay also came here and the drama of ideas which we had mentioned just now as a drama of the early 20th century the growing popularity of the short story we cannot ignore this part too short story we find that it also became very much popular and we had foreign influences very equally strong in the short story we had Mopasa we had so many others and we there are Hardy, Gissing, Kipling Wells and more all use this medium with success. Somerset mom and Henry James perhaps the greatest short story writer in English. So, now while coming to the end of this module of this lecture let us have a retrospective view of what has happened by the second world war what has English literature taken on the image is continuing to experience fundamental changes. There was already a strong reaction against the pretensions of the modern artists of this newer generation pursued a more democratic pluralistic mode for poetry and the novel optimism, commercialism and the popular audience we are coming to the postmodern travel writing and utopian and science fiction deeper engagement with postcolonial and Oman's writing. So, it is almost like mini narratives which are going on within British studies Irish and Scottish writing also has raised its head. So, do Hispanic and Native American writing in American studies a multicultural and cross disciplinary construction of the subject has come in this is manifest in attention to previously marginal genres even in genres as life writing. This introduces the sheer richness and variety as well as the complexity and contentiousness of contemporary English studies. So, when we come from the modern to contemporary English studies in the next lecture we will be dealing with Indian writing in English and we will find that in contemporary English studies how it includes so many perspectives English it is shown can refer to many interrelated things languages, literatures, peoples and cultures. Sometimes studies supported by visual, audio visual and other documentary material and film increasingly features as an object and process in its own right. So, when we look at modern literature and even in post modern literature even in contemporary literature we see that all these are linked together film and literature, then painting and literature, audio visual aids and literature, the visual and literature not just as illustration or enhancement of a verbal text. So, technology has somewhere changed the subject actual and the virtual communities technology has always been implicitly central to an understanding of what English is or can be after all without manuscript and pens and without paper and print technologies there would be no text and nothing to read and virtually no historical dimension to the subject at all. So, we have come arrived at the 20th century gone through the 20th century at least three further communication revolution one in the audio visual and telecommunications video or tele telephone, radio, film, television and audio and video recording another in electronic computing technologies and digital information processing. So, the discussion will be what does how does a particular work of literature in relation to questions of modernity you have to understand what is modernism about what is the modernist text and if we look at a critical analysis of a modern fiction how do we go through it do we look into the technique do we look into the theme do we look into the way of representation and the role of literature in relation to contemporary aesthetics. So, this is one form that you have to also do a homework on what is contemporary aesthetics is it something which has been derived from the past or other modifications which have been brought about what is actually modern when does the modern age begin what characteristics set of a work of literature art or drama as being modern. So, how do you see in the different genres that we had done how was it that they were termed as modern examine the historical and political context in which this new approaches emerge. So, the references were almost the same references we had done in the previous lectures and especially Edward history of English literature and William J. Long's English literature is history and significance for the life of the English speaking world. Thank you.