(1990 1981

"3 "3

2000

10-00

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

by the Government oHndtatrt cohcmfewl rate

1980

1981

to

"ar sroabs*a

Sb|j6 eo

3.

tf

^"555, g*0^ H^g0)^6 ()

Sl-12.19^1-3 -3

28

5.

6

7

8

11

12

229

,sp cSStes* SFOPGO,

(Modernism^19, 20

VI

So^^SS^co

(1914-18),

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

S

1910 t

B6[jSbS'oni ;Sotfoa3l38>^ s^s^tfg S^^617,18

19 S5 ^^8io OsStf, 20

Vll

19

a Si

VI11

^SGl_

5*0^3 53-^0

(Romanticism)&*

RS

,

10

(Nco-Classicism]&

*)^oa so

(Formalities) ^^

1748^

^Rationalism^

i

,

1789 a*

^o

location)

(dis-3eS$o&,

sj

(Idealfsmjr^,i 7)

(Freed om) n%

(A esthetic ism)ry

wtf

&&|ax>(iSap t) 10)

sSfl^S

19

criticalrealism) ^&g3eJ 33 ?5S)^^ ('Socialist

tti

ism

53

t) 68)

1917

53*

xii

co v

53

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

(RatLoiiahsrn) 17

20 a

^X oJb i.^^?

)A3 3 SJ^D^,

***4-

!:

D-^CP

1932^*

fciv

20

XV

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

( Surrealism )

1924

ivi

SisSo,

Stream of consciousness

. t). 186).

S^ 6rp

17-.18

-33?:5J

XV11

[icL CD

oc Csp fco cy^ I0_) J_D Oj L_

(Existentialism,, S5>1)

5"

i ^

rfo^doo

!9

XVlll

(Formalism)

* .

S a-tf

t ^f pejorative term). ^

(Roman Jacobson)(Victor Shklovsky)

^oa (With a new form comesa new con

tent. Form thus determines content)

Blank

.verse

XIX

is

So

53fiosy^Co

o

oef* -rv

D'53'OO'S

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

5Sj*^d> S)&?5 ^oS^bo 3aSS>fc$> gPofi, 53-8

3-0$

S^tfeS (popular trend)

ia

.-6^0,

8(560.)1967.

. 1978.

,fc. 1967.

O, 1972.

."3. o). 1977. ^06." odbesspo' l~l,-fSa5oe6 , 77

David Craig (Ed.) 1975. Marxists on Literature.Penjguin B6ok's v

(thought

pattern)

(Romantic tales') n s56?6j

efi 1711

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

SS^^^ ^SSj'^^^o *"& (captivating the imagi-

tion) ^ ^ oefo ^c^So^^oa SSSaSbtfcS ^O'eD/

Thomson a*&>?5 axa^b^co (Seasons')

1797 ^ Frederick Schlegel_

Cogitations ^ei^^ S^^cd^. e^ *E3$3 S'o^ (Imagi-*nationV d'^S^o (Emotion

1

)

sSSj^\C& (attitudes) o,

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

8 1797 S*

Frederick Schlegel

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

^^ (spiritof the modern art) r?

o

(Madame Destael)

sjo^^pCO

Ballads) So

nature)'

'

S^S" (Heine]

i /Lejenre intime)

(^Lyrical

^^> (return to the

(Walter

(Stendahl)on-

(^beauty) o(strangeness^5^) fcfioS"!

Peter)

j (sublime)

O

(Arthar Lovejoy)esffe

(verbal sign) n*

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

(^Lilian Furst^^^jcfi&83o

i^So8^ oXsspex) ^sdi (1 j ^

(1748)x>

SSCT^

(guild system") &r6, dtfpoiSg' A-^ 8 (machine production)

ci as n

(Proletariat)

>5on*

(Superstructure)

(1789)

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

0-33

(Neo classical values) So sSg

^c^&o, ScoSSo (Aristocraticnorms

andvalues)

* SsSpStf

ej 5 jr^o e^21 * a

reaction)iTDeserted Village, 3" Satanic Mills,

tl> Age of Despair a,"

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

(Atheism)

A esthetic ism) 'v,

SSJ

Impressionism, Dadai^m

(Revivalist)

(temporal aspect)& &o^

(Adhocism)

(Flight from Rea

lity) i'g

f Imagination \

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

1910

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

(1)

(revivalism of past)

(Vedism)SS^^ofi

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

(thought complex)

10

sp^olb ^S

, fieb, if,

11

sptfo

cr8iSc6e^^pS^g'Sr

8 gg 3* tf S)sSs5o

(Atheism)^ [jSiytfoSS >, s5o

No

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

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

|J3>oOir>Sbtf SsSs^eo 5-e^ag'

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

SSO^ofl

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

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

1881 S^K^S"^ EmpressCotton Mills SsS'SS* tfotfa

1910X S

IT 3* CO

s^oi-^ t)L

t^cco

35

ef

(Handicrafts) o-^o*

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

1912-1918 J

CD CO

14

5*0^^17S9

wDo^First war of Indian

Indepea

)CO

M(1909)

Hermit

,

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

,

o>& 'o^tfS' io

consciousness

(ugly)D^tf^ 3*rSjBSS^fo oasfo 23^o-ui^

*&>

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

1910

3 eo

1 7

estftftfo a*7*6^

(Elegies^

2)

13

V V v',.

"-J-" ^

d6i&udiGO

19

fPhilasophical Anarchy)

^^ (Actor), ^cJi)^b& (Hero) ^ -^a S'SD wS^o (Ego or

Iness) r^ ^odJcr> \cfiT8

, a^cxfroS"8

(jSooa^S ^?& fDominent

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

(The otherW sSgsSsJ8oJoefc&o&paa ^S |Jod&ftfThe other^ 98x_oSSa)2focfeoaV y ^*

eooo c^QO sio[6^oo r^^a* ,5^o3?6 s^o^^o ^>^S (Imagina-tive

object) 9oeb

j* (^Pet-Actor)

(objectW

fc^tf

A o^ 70 Love, p'ulobophy

21

spcOotfio -

^ToStfg

*Q2>^ ^(S>

HP ^Jo "SodS

eo^o |jSE3dSoo

(Intellectual & PhUosoph

22

rS>3s-?S!Sao

28

iSSL

s-Sbf

u

(Mystic) 535^5 .

feelings sSo

^1^3^.Sb (Akhemy)

(tragedy)

-\cJ

S ^i>S)d6

&Eg Malancholy tragedy S

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

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

(Death wish)

25

je3 *-^ (Psycho-aaalysis) di^J ^ S> e

2)3

&( (State of nature)

is born free but he ib found in chains every

very

sS So

53*tfc (Flight frcm Reality) ^& esoeb

53-

27

S'tf (Classicism^ s

woflotf^S)

B &cyo^ nK

^g ?6o[o3

;5Sa*S

1910 &ofi iSr^^o^^ &&*& 4L_

Sa3;Nc)o-S)?6

&>

83^

28 es&SS' 3e,

1910 &o

1880

^cr-ofi

4:^o (Super structre}Ci \ /

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

(Neo classism) S^_r^^^e,^ ^^tf ^

f Realismv

3eu/*o

o] ^

SO

5P

&33

1934 d

^0^50 (Economic depression')1940^

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

2 Lilian R Furst Romanticism Methuen & Co,

London, 1978

2

,

1957

_,1958

5 ?6

,

1965

,

1974

7

1913

le &

1967

So 3

,

1988

,1988

,1978

84 estfbfc^

"

35

53*

^3 Q^

8?

88

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

88

&DO&

"Stfto baa ^s^n' S)faoaB CSo

40

S}

42

escXo

&

46

[j6s*tfo

.X^ol -

t)Co

tffi^os-fio-

44

^&^ lisso ^txy

,3 o^o^^ sSfift^bo 3 &5oa_ ) (J) c__ t)

46 es&asf 3es>to

tf o,

s-SS

s;a T-OO jgo a^&Q aoooflo-O

0-

HP

u-*

^53*0^

i S

fl

(SosStf 53*3,

4)

50

O

%|tci6

> \

cJ-s

O

61

irfotffio e^^L. M

&3D ('Y>tfo'5b

53

^5 3^5

CD CO

'

5-00

69

Q

5*tfe3

54

t

O&

^

O cu Q

coD s>dn

nEP S)

atec-, Ijrag'oj' eso^o

s\

ejpti,

?66eji>cxi3 sios Scpx-SP jSsij^oS HP

gg

S>

fed

67

Scr-dib

SB

^7-t>tfcfiog,

efco

ov?

69

'

i

8cSfr>So

esCD

CO O

80

tfS)

53

6,

63

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

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

Sfil

64

53

oL i)

33*8

53^60

U c

5)

66

1920

i Q

37

coco

ea

eO

aty.ST8

- SS

^ fotfo,

gg

[tfsSglaS

aLSo^

tf ?

S3.8S

5

dQbr?co

f

oX A ^03 AS3, A

73

a

sjos'

3057*0,

(Tribes] IT

Si/d'eorr*

74

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

^fj^ cS

75

)^ ^=D>O(>

tftf ^Sr^S

(formalismj^

^So^_85

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

(1910,1930)

^^Srr1

*

3 rf

a|jea

1937

78

o 2ri,

o n

o^a

?9

fc IL eg

ol*

>ol.

1930

1914 *&*, 1989

[JSB30&

80

53-830,

SbCf

foofi" ej*o5

0*^00006

195

(form\ssol tf gb

8,3

ss

Sbfif

o

' 1923 1936

23^0^6

6^)00*,

^j* I s

1943

1943

, flTg ^gbcx,

a

o

-r _ lw_ ww _,-_ _^ w_ tyTi

84 3eort>

n-6*

^oco

rvd'o Saotf&tfb,

86

esodb"! sjA178)

3-3^

ioS

SjS^o^Q (Refl^ction^)

J J

88

19*7, 1948

1 95 9

sophy^S

(Emp iricism

(Logic)

514

^Q

3^^ (1596 . 1650) TfojySfts* (1632 - 1377), fcfiijf (1646

-

1716) |^sSboaoo

90

propositions, theorems

T

8X)

;-CT

fl 3o_

o 16

3 io^wiexi 5J3

8

19 ?

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

i sp?6j,

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

Species by Means of Natural Selection1^ [tfotfo S^B

o

55^^-,

92

"isSoo

^0^8

',fS5o

3S

'^Si o*cS

.

reason

CL, 3*J tj -J

80^ SS^^M S_sp5 (mental attitude)authonty) ^S$)^g

w^ Jjoc^)" cT^"^"^ (plulosoph^

^X (etlvics )

650^0^0

19

oo~eb

1909

21

96

SfcfiSa

c-cc

93

S'S),

Sjja'eso'

su^S.

c, C'

"^oij'^b SJOM2J

n L. &

100

o) c&o&

: if er/ ^

101

a-Si TStfeS

102

10S

iS3 L_

'3

*9c&?S

104

tfo, &

>

105

lL

i^oo

,

"loijjoSofl ^SsS&N ^P^P^

. Q

Q SP

558

107

?3&p n*

108

e. zy

CP>

es

109

53

Q

530^3

10

At^o

(Symbolism)

(Rimbandjrfo esotfcp

^Baudelaire)correspondences -

(Freud)

Sosjsptfo [_p^ ^i&c (subconsciousj o^

111

d

112

"Surrealism, by its very character, cannot be

progressive Progress belongs to the realm of realities

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

order from stature to stature It is matter for stati-

stical or quantitative appraisement It is real, surr-

ealism is unreal It is a device of distortion in the

realm of art"

'SURREALISM 1

^Andre Bretonj,

1981^ wS'oSS" (Apollmaire)(Tristan Tsaraj,

r^c (Louis Aragon)s5oe^infantilism^V )

j*&> Automatic writing

114

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

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

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

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

daring at last to be aware of our desires and daring

to fulfill them "

SbdS

&*To3

tforfotf*

SooSb,

32

56 fe^^No 1)6cJ

7

8 *

9 sjfi

S

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

-

(InferiorityComplex

118 esdbSS' 3eori>

^bocr SCPCP

1920

COD OS?

Si^o

1918

1924,

'

^pcr8 axp

IfOO^SosS^^o^ (jSibeoS'S Interpret-

ation of Dreams^

HP

120

SP

(chance\ ob]ective automatic

SbDibS, o

3 -?& tf&r\

n*^,

-cBoa&-Sjo

1/553 S'^ff8

* *

^ ^

125

5 5

1930-50

126

CD

1959-75

1905

3eorti>

5630^ on-

fe^SoS*

j_ /"I CJ

1933-34

r\rJ

1960

6 PI Jeo L

do

Being and nothing less" n

(Ex stence Precedes

essence)

(An essay on Phenomenolog 1C al

129

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

357*

Existentialism So

7 sS ?6

aoo

1968 5SQ Existentialism So

9)

180

3 ^?6o

^^ (nothingj r?

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

(Hell is others) ?SS)

t

Critique of Dialectical reason"

", t?: soi^o cs5" ar ^^ * Ci

n= b'o

131

Scarcity)

,1>

otfs*oo

1975 a^

sSr|j^o s*&

|s3.Qf7

^Existential Pyscho analysis)^)

ol __. *J

* 138

|j$SSc (stream of consiousness)

:-

4

*5P(5"

4t Words M

g'cr? 3eosS3ca 1^6^ S* 4fc o3 M

Seorib

1972 5*"fceesS," SfcCsSL&ffl*. 1975

(18.6-76)^"

e

136

9

es **tfS>

3*8

3$9

First person singular^ S'^OD 3^00

1946

189

o^or?

700

o co

^o

1S9

SsSoco"fcg

>5*

140

etffo

o

_io

(badtftfoatf ^

sr^ol

^o^ah

142

O *

cxu'

c3(TO v3 tfC' "'-J^^.OCULOuU^-j UXjS*v*dL/o/*- S3 E5

143

30

(Existential-istic

anguish')

(alienation)dfc

144

[jSsSoifo ^PC^ ^aao

es

146

tffl

10)

146

1965

a, "la*

ssotf

148 ss&kg' 3oD

srtfo

2

8

"7

8

(Inferiority Complex)*^s tftfo &

150

Self.Alienation

Escapismsc

o

1>&>Sooij-&

& zv

Si6

161

152

Igo Sd5bS^^S Superiority

complex^j S

Psycho-neurotic S &

Insanity ^

fi t

a-rio

Establish

Readership

tf) '5^ Ib3 F^ crcoo S'Stfjgo'

^, Craftsmanship

d"

164

8,

Experience &, Feeling

G^ZS "Description of the subject- matter of Psychology

1 $ Experience

Extravcrted

Intraverted

IBB

1 Simple feelings

2 Organic feelings8 Activity feelings

4 Sentimental and attitude feelings

8^63

*Poetry is Spontaneous overflow of powerful

feelings' & Wordsworth SSspj^ ^6]t!)oaD rfbCA vent

for over charged-feelmgs1

es^ Kebel

5s wtfcw

156

S

J Q

167

* Q

>0

SJ^^O-Art for Art Sake

^ 'Art

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

'Art has no raoral obli-

gations' 9^) 53 6 |jSatfo ^^Si) *Art concerned with

only beauty, through the Principle of Art for Art

Sake ' ^

1873 * Walter Pater e5^ otf& History of the

Renaissance e3^ S) r5fe"o a*^8 ^: cs'o^ Modern mani-CO

festation &

fBaumgarten) ^^^60 1750 &* Aesthetica

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

^o srcr Aesthetic movement

153

a8sldSjc

iSS

l

.

.

.e9ofi6l SboifiB

160

ss co

-3*23

0*61 &L_

TcoDO(

160

53

Lyric

Lyric

11)

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

(Imagery)^ ^_^

Positive

sjD

Bco/^b

Transpareat

d&tfo

Look

i

Liberal

163

u_Cu a)

^sp^sSDc

,^ Force

^OcTS'StfjJ

Personal rr5 sj^

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

own ache

,67^

i'o^db

530^0 &>tfc

1969 ff8

30^3"* '

cor

"

, TV^o^ca, ^00.^0(5,

8 33% [jlSsSoa 165

II

186

12

20

12 Siofig SS

12

"1914.18

}

1978-19SO

III

- tf

16S

50*7

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

fc?6 tftfoatfoSo,

g l i e

o^o

0^

IV

CD Q

' ^ a.g'

Sjos19 ?6

170

Q B

S'eo etfo

e$ej7?

5-a>|)

2>sr^S>

^i

V

ITS

c&

S5o S)

si3

S* "S

3

'Modern Fiction 5 e^ ai-gcSofif*'Look with in, and life, it seems is very far

from being like this '^^ ^^^ IbgEJVy&sptfo'Modern Fiction' - Essay b> Virginia Woolf,

Collected Ei \v 3 by Virginia Woolf - volume

11 Page No 106

J74

iS

08*

VI

oL o

'Stream of Consciousness 1 es$ d?oA5.

DDdSbS)

'Principles of Psychology'

"Stream of consciousness'

'Stream of consciousness is a muddle headed

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

ocean It hab depth and greater depth and \\hen

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

176

nothing here and when you give yourself upto one

current, you are suddenly possessed by another" 4

a L

ob ^&^bo(^^ 1941

1947

'Stream of conscious'

"soo

c3)

|jS|8dioSo e

VII

5 From *A Reader's Guide to Great Twentieth Cen-tury English Novels' by Fedrick R Karl and Maga-laner Page No 8 "As a social and moral docu-ment as well as a contained artform, the novelfrom Cervantes' 'DON QUIXOTE" throughJoyce's 'ULYSSES' has responded more quicklyand fully to new ideas than any other literarygenre Accordingly the 20th century novel

following the rapid introductions of new modesof thoughts in psychology, natural science andsociology has reacted boldly to absorb andtransiorm this material into literary communi-cati ;ns

177

jtrK

o &o&>o

25

Sgg^tos^^o" QQflX

12)

178

VIII

tftfoa^

179

sj"gaSoS*a L

J' 8

180

05

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

"The artist like God of creation remains withinor behind, or loovc his handiwork, Invisible refi-ned out of existence, indifferent paring his fin-

gernails"

181

IX

2

8

4

6

(Interior monologue)

182

"60^

^^500

Sp"SS~8^"n

3^3^53 SP^ siX

tf!) '

e5& -CD

/Objective Presentation of subjec-

tivity)

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

185

"5)8 > I"ol rJ

186

) L_ CO

1940

^6 S

o

co

^s

&'

8 MThe Problem of form for Stream of Con-

sciousneoS novelist is the Problem of how orderis unposed on disorder" Robert HumphreyStream of Consciousness in Modern Novel

187

^g [jSsSoQ

d& '

estf&c&go*

18S

6

7

Robert Humphrey Stream. of Consciousness in.Modern Novel

CO

'revolut on'

rum,

national calamity,

revolution

[K2ron ^s ^do^b American College

Dictionary,! A Complete overthrow of an established

government or political system, (as the English

revolution (1688), American revolution (1715J, the

French revolution (1789), or the Chinese revolution

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

&o Sip^ SSSsspir' 'Human revolution'

Anthropologists

53^

i

L. ^

ifl

,

Soo3* tfS>

^ (jeseoestfo ^^^^ cr-Sofcrf

es

"

x 6^ io L

)2^03

^S), ^

c, l

loS^ Sj

tftfoootfo

102

1946 &o 1948

s o a

,-

Stf&ea

5*00

1955

AS'

co u ^-

1962-64

188

SSji c^2

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

19YO 3>

1970

,^CO (p

^^oS

10

7, 8 e^coo^ aroij'cxo Sfl

1970

^

Vs ^=063^ STcpeo SXP^O

&&&*C3 O

g^ "lojjj

3 1947

3#"o

196

5

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

_

&

3aodo o

,1971 t>

(1977

S) tf roofiT8

S 3Seo 838A3

1970)

198

?o

.

?oQn

(1975)

(1974),

(1973),

197S

Sip,

eS

tf&esoS* |jtert5o&eo

o a)

coo

200

S,

1970

Folk simplicity

tfrfo

efs

5sSdDo

(1980

__ Q

202

empirical problem &o

SOS

1970-1980

^030

I

1-8-1981

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

206

modern es^ sCD

Seu&^a (aoo^) = Coining 3So, ^X65^0 "Sod: EpQ^on8 3^3 *^tf>^o' S^

206

5,05

SoSc6o[j5

CPU"

) aoon

207

io

(1886jAc3u

0*83

208

Iambus

fs [no

0X^0

rSojjSo-dSi

si S

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

14)

10

asS tftfoaieo c6\2i

oXgo18, 19 5

7i a*

(1387)^^ di'io,

^

Tears of the

Muses' So si3

(1839)p?^o s5a

2J S3

"6c&

Tennyson 6'Oc^ 'Lovethou thy land* es

- >j o- G "3TP

Q -

(5)

atf,

(6)

(9)

spfl"S)

-

(1)

Q 2)-*

si&

214

(10) 3&sios-

CO SSXJPP (11)

S&tfj&eo (13)o,

1

(H)

^^ (1)

(1 ve drami) i.tSS)

215

c1 300 Sonv

CO J CO

216

OCX)/

(1) (2) f*^

eafi tftfsp

217

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

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

or? LaS^fi^^ (1)

(cone pt)

(hehivioursj r^, ^ jo si

218

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

cterized'^^ si3 (2) tftS:>oD$oOr33j i3*' OjJra S

lSc[jCc5Bdio

6an

219

20

Scon 55

220

o

in^cxo "S^

a

^ Dictionary of Literary Terms

by Harry Shaw

8 Act cf Creativity

by Arthur Koestler

4

)

fi)

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

a)

o"

by. Sjofl

oo

93

2_oi, 3-yj,

S*3?tfjr 3cS$33&*&

^ osBCX.

sponta-

neous r^ ^^^CLbcST8 g^flS J^^o

' "

e)

sjpod3 ftStfj

instant

. |o S^b w^

J

.wufr? ivO'^J 'n j o u

224

poet hero

^00

sSSdb}

57^ ^

5F>6

eo co

226

* "

realisation

>vft)

f6o[SS3-JQo

"3

ibi ^bea

, Sol",

o.

iSSt^pr^o "ifioSi* 53)^^ ftio57')e3o )

228

a*

SJ |

1965

trend

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

Popularism r?

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

Popularity a &^c S^

o 50^:5-

Searfb

2SO

Popular ^ -Spd) T Rev Thomas Davidson

Chamber^ Twentieth Century $&od$ -Stpertaining ^o the people, enjoying the favour of the

f

people t prevailing among the people, easily undern

n r * i

stood, inferior w ftstfo SJrsofi o"8) |j6e3co cojSis

410CO

PHILLIPPE PETIT

Sb - The

most complete man of his age' & r3

281

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

^30

tfosootfo"

L.

Ke>

232

o

33

(New Testament)

*9

,(3

CO

?vS5o

o

18

influerce

295

ss-tf,

SiS

^Propaganda can make any

thing popular Even death"

-L'c S3 a-

o-ff acS"

n

53=^02, ^r^to o-

cCoesSSr'ctbex)

Jo&e? gTJjo

237

2,3"

Popular

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

238

o*^ Obscenity

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

Francesca ^"6 !>cSfio& Paolo S

5^8

)^as ^sS

Francesca

Obscenity

&B so calledoa

popular"

^coofi

wo

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

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

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

o& Arnold Kettle oxer*

"1 think it essential co insist that a satisfactory use

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

cation with Circulation'* (Dickens and popular tradi-

tion)

D so S sr3-

g'o'S

. _,^fl OJ

3R>

241

Soofi

16)

242

popularity, utipopulatity rt*

popular

a T

S-a.g' tricky orgurnent

o

xo

fiDool^^^O

33(055)3^ e3^^S$o6^ ^ej-^ (f^oajtf

244

Fighting

Popularity ^5oD Bertolt Brecht

Popular means intelligible to the broad misses,

taking over their own forms of expression and enri-

ching them, (by adopting and consolidating the r

stand point) representing the most progressive section

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

the leadership