wg seh “a le Plato, DOKL ups: E Chassieal Critic) @ SO AT [teary of Tmilation ov Reprasentition | v To hie Parnns wor PSE Ee spounds his theoey of Tmiation, L prep 7 He maintains thal by using hypothesis we cam awrive at Trdh, He conceives four faculties of the Soul nemely, veason , underrstinding ,fatth amd perception. in their highest to lowest scales. Plato says that poetry is tmitative.in mature, All poetical imitations cause vuln to the heavets. He admiyes Hower. But he ts evitien) about bad pecty. Plate gives fixed importance to Truth. ~ He gives the example of beds ,rakex of beds ene paintes of beds. Plato propounds thal- th is impossible to make ‘a bed withour the Idea of bed. A carpenter makes aw bed by imitating whe Idea of bed, and aw pointer paints a bed en paper by imitating the caspente$ bed. Painters bed is mob veal bed. Acedrding te Plato coxpentert bed fs rot veal bed: But tha Tdea off bed is veal ‘ov tue. The carpented and tne palntey axe jriteters, Plato conceives thos. isovld omd objects of His rid as Imitation of Godt ideas, The painter or a peck fe thrice vernoved from truth. This theory j of Plats ig called as Theevy of Tanitation ov Representation , Plate differentiates between Truth and appeavancas of Truth. ft mmiveoy ettily imitate wll bo trims Ggperrn eS) He says Wak peott and avtists imitate. appenrences. Na-one ie able fo understand the Truth, No peek ov axtish has perfect Knavoledge, according to Plate. fox this vexsen poets oy artists do more harm tham good +0 humanity, and he, hence, attacks } pects amd bans thir from hie Tdeal State, : as Cel [Fors aed steachere of Poetry — In Book 3 of his ‘Republic’ Plate talks about for, System amd structure. of poetry, Giving am exomple Frem Homer i ands thab peetyy ts a navvation ef things seoade by Iz naxvation proceeds by way of imitation, he $498. ocalneu with Galnscawe A poet does not narrate by imitation oll the “Etna, Plato anration by imitation and simple : 2 gpealeing im tre voice of pre Characters, he is jmitation, says Plato. saying FBS ote Tn Ais 9urr atyle, he 7s simply marred ng He gives the exorples of tragedy and comedy aspimited ene , clithyvamb 4s simple mavration , amd epic as both tmitatler and naxvation. In tr uray Plato analyses the shracture oF poetey tynitetion ox stmple marvatten: [eo] [tiate's views 07 Movality Poet wy 2 and 3 of Ms "Republic, Plato expyesss advises that there should be differentiates belweam : mal narration, When ihe pect fs maveating by when be 76 at altho a Zn Book on morality. Plovo a censorship of te writers of fiction o« poetry, fow accepting the geod poetry ond for wejecting the bad poetiy. Only authosised poetry should be allowed, Says peed Plato. d Hesiod as qrectey write ald his views He considers the poetry ef Homer om peckry, Bad posts tel] Los, he sys, wher Mey abouk gods and heroes. Plate rmalntalns that poets she imitebe geod persons having quatities Like courage y ternpecance(self-cnteal) , holiness, charity and so 07. Such qraitetions ane yd guides for the youth, Says Plate. Poets should not imitate lower and baser qualities, My should not narrate Haings abouk which they dont Kenow omy thing, 20/8 Plato, They shold not write about omy ring which Coxcupts the aninds of yeuthe fox example, stealing , sickness, weeping evile ond many other bad scemes ™ Plato, In this Ways Plato obi hity, and ether 77? slavery ,cowsrd, quarrels, simmers, madness, aus be avoided by poets, says has supported gocdness, guelities a5 best on amples at of Imitation, ocanned wit Carmscavr ® ‘@D Pevistotle (Classieat critic) (ri Beattie ews on tas Ph | work ‘Poetics ' speaks aboulm the in general, ond of tragedy Aristotle im his farnout nature of poetry and other arts Lrewlar, Ha says thar Epic poetry , Tragedy , of tentketiom They eLiffer from in pas Comedy, modes flute ~playing ave ol! depending on theiy medium of one ansthee in three ways tenttation, object of imitation: and..manner of imitation Rhythm , langwage and haxmeny oe the medium ow rneans of imitation of poetry, . Good ev bad actions and theix agents are objects of ig divided by wd vivtue ond the level of goodness, tet than we exe, ae imitation, says Aristotle. Monkind Vice. Objects of imitation differ according t higher ov lower. Homer's characters ont bet says Aristotle, objects of imitation of Tragedy and Comedy are di flaxant, he says. Poetry ov ony tation. Prabey may be ravrative ev dvamatic ov objecth ark diffors again according to the manner of Tond eee Says Avistetle- fristoHe traces Ke origin of poetry to gemerel human alae, Imitation 1g natwens) te man, Which valeespabove the - level of othe amimals, Man learns fivsk by imitation he 54/5 * Man takes delight in tmifation, Mimiery is a gerd example te shows this, Sense. of shythm and harmeny ig also nehwrat to man, sap Aristotle. The sex avt of poetry is quite natnrat human beings: [2] [Ferm ov Structure of Poetry | Recording to Avistotle poetry oF drama ov epi¢ has Six parts, namely, Plot, Character, Thought, Diehon, Spectacle amd Melody, Of these tha mest important fs Plot we combi- nation ef the imeidents of tha story. Destedy ig an incitation vist of persons but of antiwo ond life, of happiness amd wisery. All human happiness %% without action. Peripeties end Discoveries ore ocaineu wittt Catriscaanos jenpovtoot pets of plot of Tragedy, fecording to Aristotle, plot is the Uke. and soul of tre | charcactert ond otharr parts come next to plot Aristotle next says abouk lan of prob contain inetdents stotle poetny moor ameam 5 Het whal- ability as post & fre. construction of plot. Plok rash which ave logically possible or probable. According te Axi Tmifaies wnivenseal truths. By universal, he ar amy place omd ab any time. 9 any person will probably do 1 dmnitation oft universal Prtstotle, thas, madnteins that pesky ist awetiens, To hime. a Likely inn possibility 18 alurays preferable Plot in tragedy rust be of corteln te length. re i be gerd beginning 7g 3 Unity of Time says Aristotle Simple oF compler, Fe onneh hawt middle, and satisfactry end. Unity of Place, and Unity of Acflen produce a good tragedy, [le] [Aristotle's views on Subjectivity ox Ernotions The effect of tragedy ay whale Avistotle calls ‘catharsis! js a gubjectivity ead ov emotive terry, On Bheray este. toa. Tt is velatecl to dhal kine of emotions ore adeused i oe hearerh or readers mind. tt is alse called , ‘Reader’ Response Theory. Tn tragedy pity and fear oe axoused by the Spectacle. 7 Thate emotions may be aroused a6. result of ovgarte Shrachore of plob, This is te beter way of exousing' them , sys Aristotle. creating fear by shawing hevvible spectacle fe mot ak all art, flan o pity rush be the result of Incidents o¥ plot, Tt is toe yesult of fnitation of sevious actions, Says Aristotle. He advise thet eo poet raush nok ahoose enemies av Indifferent chavadvS fox his play. Mure ememily ox Ineli fovenee camor lead to pity % te if familiar, folundly tharseturs ake cheesen 1? fear. He says tral ane faux wre best produced ond av play, the emotions of pity Se leeds to o geod tragic plensure ey catharsis. En this wey firlefotle. enplains tha efleet oP tragedy om tre mnbods of spect ators: Ths effeck is called as cathansis- ocanmleu wii Carnsca@ Willian wWovdswosth (Romambie evitfe) fr) [ilordesorie vicar on Ware o PF Poekxy. William Wordsworth has expressed his views on nature of @ prety im his work ‘Preface to Lyrical’ Ballads! According #0 Wordsworth poetry is the iroage of mam and nature. A poet writes by the necessity of givin Immediate, pleaswre te 7en- J pe eee Poetry, According Ye Wordsworth, raat cheese incidents anal citations frem commen, life, Fe mse dlesuribe tha things coonrne_ Ge fn he, Larquage used by commen ren, Says Wordsworth. He Soe Inerdem that fn poctey eal Wheel be wapeessnted and 8 8S cf. tmaginaton woth be then over thers Te PPT rae Fanan nature must be treced in Inetdonts and setustions- Hordsyerth chev boom and reste Ul fe ba POO Ln sath Life he bel, wesendiol pasclons of te hath find cipresiien. Here out elementary fasdings co-exish tp & state of great simpUeity. Passions one feree fully comm e- wlestad by vastie pesple, £0ys Uerdnsorth tote mane Teal Like take birth From pe eemretery_pee7® Thee patiiens awe of men art imeorporated with the peauttful and permanent forms of nature. The Language: of commen people Is besh suited +o cuptes elementary postions , 5078 Lecdsurerth , becauie Hels lamprage is lewint by ceromen people from nature feselt.. Bo fee tabs vesteo maturnl emotions na? be “yen —vell "opp etzad —fr—teoumpolithedl leasgiay of.commen_ pteplan The lamguage Sp exmenrn people dees mot eontaln tue seeted vanity of elty people. ZE Ts net mmachanteal pnd polished. According te werdsirerih nation! emotions con be expressed metiorally amd roel only in matured, weuctic lengrrge wach vine lemyuage of peasants. HE believes that reality and truth anc best onpressed In the Life te rateable end vurtic humanity, Recording Words roth, tw plessure. dp poetry is eyalted pleasure. Tb is mot similay te ue pleesuve of Ale anmtemant of tne plusnure, Sherry drinking Fo Has toy Necdsurorth says tealm pokey vepresents of es eo deeper ond elementary trulhs of UPR in the plementary paun'ons 2 commen men. ocCanneg with Galil cafw) Wevdswowth’s Views o7 Subjectivity in Poetry | ® - (According to Wexds worth all good poebry is the spontaneous overflow of pouertul feelings, A poet possesses orrgante sensibility.) [rordaworth explains the subjective: process 4 Follows Our feelings ave guided by ovr thoughts. And oux thowghts are vepresemtatives of all ouy past Hromgt feclings. By contemplating toe relation petieun theaghts to each other, He discover what fs really importont tm hurnan Eifel The. expression oP such ering, thoughts and Peakings is poetry, says Words wert: 2 Wordswovte fucthet writes thak a poets a man speaking He has Lively sensibility, enthusiasm , Bemderness , greater knovledge te aman, of human nature, He has a mere comprehensive soul. A poet hoe Lively Praaginetion. A peek considers vnam and neture adapted te wrovth says thak the mind of roan js a mivver @ tos, Feeling enth othex. Words F interesting popettics of nature, & pot is prompted by of pleasure, He tries te evente Te same plessuve in the foto of poetry: A poek connects himeself with his fellow beings. He wejoices jn deaper kind of truth of Life. eceeding ts Wordserorte, poetry je the breath and Finer spite ef alt kenovoledge.. A poet 427K> a of defence of human nature, and preserver of love The poet binds togetta the vast empire of humen society. Hig eyes and Senses pre his quides- footry 58 tne. fist and last of all knowledge» rt fs es jromortel os the heart of man. A poet finds Ho, IANS, of hurnan joys eund gowvows + Pootry i the spontaneous overflow of powerful feelings. Ft is emotion wecollected in tromguility,. The emotion is quedified by vactions plessytes. Tut, gene emotion ema pleasures ore crested Yn the mind of the wveaden, Says \alovdsuseath £9 pootry the wausic of lemguage eceompantes tha pleasures of passions and © covnplex dedight is communicated te the reader, Fn this rep wey, hlovdswerth epplains te subjective poetic process. ocdlineu Will Lar nscape teterael i a. - srvadition and Tadividual Talest. opt centeer 0" ; STIS Teaditien and Tadividual Talent” TS. 1 2 of twaditHen and’ deseribes lains: the genened conarph Ben mm ureative weoiting fn nee LUght, Gemerolly , 45 wndershed o old and dead ting. ih ois used oe & demgetory tem. exities ond woodess book in a book fer wha is ob fleet eotled at Shot is oviginad When we read © prerr, tread bined pattern. / jot. or Y poo bead pe wd Lyra dition ? Soro wey commen rom Hoe tradi tonal. Tk ey be. oy hak 1s gmdividuel of the poer FFT Prom the EVoh egveas that grea” poeks hawe something new 1 gye CL the readers. He calls Hs someting nev tw. indi- vidiued: talent BRE He ll soem 36 teaditich as somedtring old oF dead Hing. T.$. Bot says thal tn a Viherory work tndividacd talent rods onpresien - cedividued talont i the essence of man, Togethar™ wth he india Tae in a. poem for eaample, we find Shale Blict definesea Living tradition. According, EUiot tiving tradition te Hen essence ap dead pacts, his ancestee. aygerience of these old poets is eo expressed Tn the poy & a pooh Traditlen is a mother of much wider significance, You exnnok tahevit ih. Tr must be: obtained by great labout, ~. says Eliot. ot tavelves a histosical semse with the pereephorn & nok only of the pester of tne pach bat fe ‘ks presence: The traditien contains the presence of the peels from Hower e tmes 5, The motusity of te tre gereak pour of tHe present, Tradition %& hag a Sonse tee timeless well oa of the tempore. Ne poet, no axtist of any ask, hes his complete sneantng sents He gets meaning only in ember and comparison | 7 te ge dead pocts | Tradition is ihe ovder of. essence * 3 dod poels. Wher a new qreak poet is jntyodaced tas orders af tradition Ys modifved ond emviched £076 Eliot: ie ewlal of art fo newer quite dhe Same, Te poet rewsh wep the censclersnacs of Ht PS ah, oo posh The progress 0” Pramas! sdf sacrifte, a contineal extinction epee! ae carined witn Varnscaf, eo antictte procets » Fiecodiing to hin & pact p ersenedity hos nothing yo ho poetic errenbien, /. Ss ke [ (i) Ehot? Theosy of Lmpersonality « By taking’ om amalegy Pare Stene’y Evol enplains ten iempem wsenal nature *f poetic ereation, The anelogy is as follows hen oxygen ond sulphone donide om, breaght® MPT in Henpresence ff a platinum Axe, ey wee, sulghurss acid 18 formed, In wa process platiours wive is totally Cmaffestid, amd there ig 70 trace platinum io te husens acids ; oe yes arodegy ELet explains the poetic Dike a platinwr wire as oS Using a feillegis 2 poets slnd ; 0 . netey. Ceretain erroVners “FZ ar ee Gian te Tae BOE EES ae a eel ootry 75 med. Like PF ren wave pete mind 8 ouFbacked amd tere sal ell op. poets mind 19 poty, 7! fects fx eatd 8 TOT my ; of poetiy. Eliot so a fa is not aypretsed to poetry. Hamer poetry 38 Tmperser™ The mere perfect the antish, tee mere completely sepeseis tlhe Tide wa ren who _eubhors cond fee relnd Sede creates, Thee poett mind is to fact a weceplacle fey seizing and stoxing up muroberless Poalings , phrases ,inrages. whieh yorraln tebe uti! al) the porticles which cam unite @ ferro in wsovkes sand end a end compound ore presenb together, Eb is nok He intensity (Btis nok He ere Hens buk iF is the intensity of po BN es ahieb emetiens t 4s the imbontity of poakte process As makes a poor grect: Byode of Kucts canledns e- mumaber oF faokings which have nothing. Im porticular t do ost the, night Hinrgale buh the ought ng ale becomes correlative ae inp Hose $2) Pualings. Eliot cable this covreiative as ‘object Geevelative!, Te pock has not a pessonality to empress oe a particular medium, Roaty 1s & combination 9f “Tah foings, Apt wdod becumes we pasive rain polcers hee hese tags EME 7 no al ono OR] Toh an ape L2,., OCalINeu WIL] VallocdJohn Keats | pe AL wire. @ From Lether Be\jamin Batley, 2-2-Neventber 1317: Keabs fuels covtgivly of te holiness of toe Hearts affections and the truth of Tmmgination. What te imagination seizes as Beauty raush be truth. He hes tee same Idea of all passrens os of Love, They ane all creative of essential Beanty Te Iraginatien may be compared te Adam’s dream — he awoke and found ittwh. It is very dif t arvive ob truth by reasoning. A he of Sensations rush be prefirved to a life ghis. We rush take delight in Sensation. The Simple Tmaginative Mind ry have its vewords, In tre vepetiting ef it wm silesh Working coming continually on the Spirit with a Line Suddennens, A complex mind cannah enjoy SSeS a nosed Dem @ From Latter to George and Themas Keaks 21 Dee.1817. “Whar quality weaker a Man of Rehievement, especi- ally in Literatwre & find Shakespeare possessed is i+ is Negative Capability , mar is, When man is capable of being. in Uncerbainties, mysteries, dewbts, without any terifatle veaching after fact ond reason. With a great poet the sense of Beauty. bverternts emery othe consideration , ow valber obUfevates all considurvatien. Q Frem Lettarcty John Hoonilton Reynolds , 3 February,1818. ble hate poetry that has om obvious clesign upon uA Retry should be greal- and unobtrusive (very mach obviews), a thing whith enters into ons-S soul end _stavils oy arnares with its subject Beau fa plewers du net beg fox lad mi-ration . Thy enue ond command admivation. ® Freer Letter to n Taylov, 27 February, 1318 % » frecor ding him, Petry should sweprise by a fine excess ond mot by singlavity — jb should shyike tox vender +ta wording of his-owm highest trouglls , and appeart rears yemerebrance. Tts touches of Beauly showd naar oe tronshy making Ie “vender breathless Ins b content, Te vise, te es, He ceiting of imagery should be a ar Even fre settin: ; i, gq musk leave fase vender in tre Beak of the fenkaght Poetry should comes ot nator ot vl tre leaves ata ———— & Fess bale Fe chard wenden 27 OPT Poetical Character hos ne elf, De is everyting and nothing. Th hos ne vharcacker. Trengoys Lighh amd shade, Ir Lives i” gusto (enpyrnent in dling some be it foul ov foiv, high ow low, rich ow poow, ream ov elevated. It has a4 much delighk in conceiving Tage ee Temogen. A pvt vebishes derek Hide at oe height sida of Life. A Fok has "o Gdentify—he i6 continu B, far geome oftert body, Ke is the ash unpockical oP atl. @ Foen tele & may Bysshe Shelley, 16 Pagust, 1820- Keabs Says tab he could be a Judge. f Bratry, ond te dvamatic effeck A rnodewn work , he Say5, ret have a purpose , Sih Ap be ter God, An artist rst rave \ selk-cencambvetion 1 selfishness perhaps He onest fan arhst, Cork nis magnanterily_omd be mere ° and load every vitk of his subjeck oils ove, An aotist must howe total Presdom. # fact is Mook of hs Monaskary called the Drnsgination. Scanned Witt veVirginia Woolf ° 4 [Chaptext 3 of A Row of Ones, Onn, eee In this chaphers Virginia Weolf through tre eyes of the IN narrator observes the comdition of women In general ond tae condition of women writers in particular through the course of history. Sha considers Eliaabettan period or Shakespeare’ ageas an example, She sleseribes Fretion as being connected to life bub as delicately as a spidex-web, in Shakespeare® case, almost inpar ph bly. Tex nawrator fends tha wornen ane just as poor tn Life as im Ubovature It is nob just iar they oom missing from the books of tha Ubrany as authors but thal- trey ane missing From the books thamselyes a5 Individual subpects. In fash, Sha desewibes hole history of uromanhood ar a kind of eee tel beside te enhinsive, ond welldocarienFed history of mamhood. In the Imagination of roale writers: a woman is astounding and varied\; in life and m history, she is the property of haw hutband and basically invisible, In Treval- lyon’ history book, she Is a creature tHral- onky really exists tm tha, realms of marriage ancl divorce , There are deseriphens of mens vights related to their wives, bub of wemen themselves, practieally nothing. > wee homey is neither found tn history mov in Utevatwre, she 15 Somerthere betiveen te two, says He narrator, Tus. narrator 15 giving wemen a call to action, to do a service te women, to write a hisfory of women by searching te missing facts about How Trevelyan, the writer of te Hiskery of England , claims that most givls were raved by sirteam, tram HHO could they be writers , practically having tims, not even | education, to write. The narrator invents a weman , who : wos supposeal to be Shakespeare's sistuy named Tudith Shakespeare, to investigate Whale Dowld have happened Tha woman hal Shakespeare's gift, While William a Shakespeare had all the advantages of a S07, sucith coul Be vesteicted to heme ,cooking and mending ,and getting Frawvied early, Tudith is a syrnbel of a victimized woman) = a 16) | ocalineu WIUT vamsa| j [te 4 Cs, a tand of Preadem. The tie ‘4 Room of One for women suggests euch a kind freedom fer, rout of women ob prviferrs, Unlike hee brother Willian Tudith faces a Ute of by Wi lian’s gender gives him rary galivanitanged — eA nb, develop his connections , Palemt. But Tudtth could met ome7 deceam of 70? — Llmsed 40, dovelerp hese tele advantages + She ppuld not be @ [ede contd be enplrited senually ne navvater tmaghes Sadiths saad end ‘m tats way: Kare weilten by taking ~ Society nual have pol “OY weman vhe [wernan he darth —~— Tend of clistachen makes petting Trape snore distracted , 30 Fare would eee ror be a fesroreb le. © | Few consdered area infor Gad nok doce to write, of wrens omen ope —— a perierity 2 Fria neh wieaply opposing vate vupexionity os eis arg Kral erence yak change Hety on" inions of cisability i L- come & great owl themes ve vier Qike Shakespeare , Oe Bbove all obstacles ond tmpediman 4 Incandescamt,' (move light aFlax raore burn) Igo fe oery the narrator 15 emphasizing thal- gfe = nee Prasdom is necersany for fe gone of ponies °F peer Tew pow voay be 7” woman. Through owe history, wasted talent a Waste enforced usted Falen', Tupectations of socieli,: He very structwre amd calion, opportunities Ich nelp fe and ate would cornmnik suicide, genius worn talented and WD. She HAS called ob itches ond toxtwres rust have been finenyrment reacbh be Seman wsituc fh woman anh |! Trasenting name. Make, deminuted pbskacles tp toe of & Ganed to write, thinks ea narrate. AZ frnpossible, WOO for men, cere prowe om gituahion for women #? for, and women had Tperenalinved sacl tlnges abot Hoambelyes So try Says tee nav ater. The story ee be wrt hers. of wornan 5 emametprtien 45 we NeCess lominaben, if ts also om Gbouk themselves. To a woman to be ynusl be able to vise by_ond says He be i ocdiineu win ee; esl Rabindranath Tegers ® The Principles of Litevaloots i Te ine of. Utero | Rabindranath Tagore 1 Ics esa Pen aples oF , fe spisit of Oteretho— and ah, Kewe nt facahre aspires fu d peut of eye 0% prute of speaks abewh to Tagore ack ot L rr de peer and les. the primes search evaluated os nek aim abe te To wxpleio is euch a beanty. Gret De tar atin Rert art tries te wats Fre rane s oe has hunger PY fos Lvine broth end beanty » fale tee BP of a Teor eer be un drvicled erly pa toits says Te » Greet Literature § based en Pe principles of decpex tral ond denpey bendy, IF - Tn As OOF Tagore agplotns Pr ponaples f Diberatire, = — Scanned with CamScaDay & Date |_ Semester ‘Subject Name Time Code | Marks Vv D.C. English — 02.30 PM Saturday | (Freshi Introducing Critical To |.546101| 75 06/10/2018 | Repeater) Writing 05.00 PM. Instruction: 1) Attempt all questions Q.2. Give reference to context to any THREE of the following. (2) Let us take a common instance; there are beds and tables in the world.-~ But there are only two ideas or forms of them -~ one the idea of a bed, the other of a table —-- And the maker of either of them makes a bed or a table-------~ {b) Epic poetry and tragedy, as also Comedy, Dithyrambic poetry, and most flute playing and lyre-playing, afe all, viewed as a whole, modes of imitation. {) Humble and rustic life was generally chosen, because, in that condition, the essential passions of the heart find a better soil in which they can attain their maturity ~----- The fanguage, too, of these men has been adopted ~ {d} The mind of the poet is the shred of platinum. The more perfect the artist, the more completely separate in him will be the man who suffers and the mind which creates {¢} In the world of our fairy tales, the son of the Detective, the son of the Merchant and the son of the King set forth in the adventurous quest of the princess: the Truth, represented by her, is approached from three sides by three different types of mind Q.2. (A) Critically examine Aristotle’s idea of imitation as an art and tragedy as an imitation of serious action (25) OR {8) Discuss Plato’s views on Truth and the appearance of Truth and his ideas about the nature of poetry. Scanned with CamScaQ.3. (A) Observe Wordsworth’s views 09 poetry as its subj through the fanguage of common people (8) ‘Truth is Beauty, Beauty Truth’ says John Keats: reference to the above statement. 1.4, Answer any TWO of the following: ect being common life expressed (a5) OR observe John Keats's ideas of poetry with {30} (A) What is the meaning of Tradition according t0 T:S Eliot? How is poetic tradition formed? Explain. Bueshang (B) How does of pottry? Explain (C)_ What are the principles of great IIteratur Vig, fot define poetry? What dées Win Wee le. about the impersonal nature e according to Rabindranth Tagore? How does he try to reveal the truth of poetry? Explain Ql RE Qr Fred Q2 Eafetin or Coleniabish oe Unbale ox Me Ss \s Ww Nise (aoa Scanned with CamSca