Tuesday, March 31, 2020

Love Poetry in Urdu for Girlfriend [HD Images]

If your girlfriend is angry with you and You have tried your best to please her but failed? Now you don’t need to be worried because You’re at right place because today we are sharing Love Poetry in Urdu for Girlfriend. And we are pretty sure these poetry for girlfriend in urdu will help you a lot. So, let’s get started.

Previously Shared: Dil Romantic Poetry in Urdu

Download Love Poetry in Urdu for Girlfriend Images


Finally, here we are sharing Most Romantic Love Poetry in Urdu which you can use to send to your angry girlfriend to make her happy. You can download all these urdu poetry images for free from our blog with both Urdu fonts and roman English fonts.

Love Poetry in Urdu for Girlfriend
Love Poetry in Urdu for Girlfriend Free Download
اک تیری محبت کی خاطر
جانے کس کس کا احترام کیا

Ik Teri Muhabbat Ki Khatir
Jaanay Kis Kis Ka Ahtraam Kiya


Urdu Love Poetry for Her
Urdu Love Poetry for Her

کوئی حد نہیں رہتی مجھے اب تیرے عشق میں
میں وابسطہ تم سے ہی تھی اور تم پر ہی رہوں گی

Koi Had Nahi Rehti Mujhe Ab Tere Ishq Mein
Main Wabasta Tum Se Hi Thi Aur Tum Per Hi Rahungi

Romantic Poetry in Urdu for Lovers
Romantic Poetry in Urdu for Lovers
کتنی معصوم خواہش ہے اس دیوانی لڑکی کی
چاہتی ہے محبت بھی کرے اور خوش بھی رہے

Kitni Masoom Khuwahish Hai Is Deewani Larki Ki
Chahti Hai Muhabbat Bhi Karay Aur Khush Bhi Rahe



Love Sms in Urdu for Boyfriend
Love Sms in Urdu for Boyfriend

اگر تم اجازت دو تو چند لفظوں میں کہ ڈالیں
کہ تم بن مر سکتے ہیں تم بن جی نہیں سکتے

Agar Tum Ijazat Do To Chand Lafzon Mein Keh Daalen
Kay Tum Bin Mar To Saktay Hain Tum Bin Jee Nahi Saktay

Most Romantic Love Poetry in Urdu
Most Romantic Love Poetry in Urdu
اپنی حد سے نہ گزرے کوئی عشق میں
جسے جو ملتا ہے نصیب سے ملتا ہے

Apni Had Se Na Guzray Koi Ishq Mein
Jissay Jo Milta Hai Naseeb Se Milta Hai

So, today in this post we just shared Love Poetry in Urdu for Girlfriend and I hope your girlfriend will be pleased with you when You would send these urdu poetry images to her. Stay tuned with Urdu Poetry Nagar for more exciting urdu poetry, quotes, and much more stuff.

Dil Romantic Poetry in Urdu

Today we are sharing Dil Romantic Poetry in Urdu which can be used to send to your boyfriend or girlfriend as Love Poetry in Urdu.

Romantic Poetry Images in Urdu about Love
Dil Romantic Poetry in Urdu Free Download

کچھ بات ہے تمہاری باتوں میں
جو بات یہاں تک آ پہنچی
ہم دل سے گئے، دل تم پہ گیا
اور بات کہاں تک جا پہنچی

Kuch Baat Hai Tumhari Baaton Mein
Jo Baat Yahan Tak Aa Pohanchi
Hum Dil Se Gaye, Dil Tum Pe Gya
Aur Baat Kahan Tak Jaa Pohanchi


Monday, March 30, 2020

2 WHAT IS CATHARSIS

https://youtu.be/O5PX2DpusRQ

1 WHAT IS CATHARSIS

https://www.slideshare.net/pinagondaliya/theory-of-catharsis-180676065


Theory of catharsis
1. Theory of Catharsis :
2. What is catharsis?  Catharsis is element of tragedy  Catharsis is a Greek word meaning “Cleansing”.  In literature, it is used for the Cleansing of emotions of the Characters.  It can also be any other radical change that leads to emotional rejuvenation of a person.
3.  catharsis is an emotional discharge through which one can achieve a state of moral or spiritual renewal, or achieve a state of liberation from anxiety and stress.  Catharsis refers to an emotional release for the characters in a literary work, or an emotional release for the audience of the work.  The emotional release that characters or the audience experience during the catharsis can lead to a sense of forgiveness and renewal.  Catharsis is purgation of emotions and feelings.  Purgation is purification.
4.  Dramatic uses.  In dramatic art, the term Catharsis explains the impact of tragedy, comedy or any other form of the art on the audience and in some cases even on the performers themselves.  Aristotle did not elaborate on the meaning of Catharsis, and the way he used in a defining tragedy in poetic.  Lucas identifies that there is a chance that Catharsis may have some aspect of meaning like, Purgation, intellectual clarification and purification.
5.  Aristotle used the concept of catharsis in both the medical and psychological sense. In Aristotle's POETICS, it meant the emotional release and cleansing that spectators experience during and after watching a tragedy which has a corrective and healing effect.
6.  Aristotle believed that catharsis helped to moderate passion and strong emotions, therefore restoring the balance in one’s heart  Originally, the term catharsis was used as a metaphor in Poetics by Aristotle, to explain the impact of tragedy on the audiences.  He believed that catharsis was the ultimate end of tragic artistic work and it marked it quality.
7.  Pity :  Aristotle said in order to create Pity for the Pity in audience for the character make the character suffer and undeserved misfortune.  Pity means empathy we feel feeling of empathy that you are feeling sympathetic about that character who suffer in critical situation.  Pity means your audience need to feel some kind of connection to the character of your story.  Fear : • A conflict of some sort is needed. • Fear may be also arise out recognition of guilt or outer guilt. • Aristotle told that Pity is occasioned by understand misfortune and Fear by take of life ourselves.
8. Example of catharsis: Romeo and Juliet :  Romeo and Juliet is a great example of a tragedy, might be explained by the idea of catharsis.  In the end, the young lover end up dead because they made mistake of following their Childish passions instead of being rational and patient.  We feel sympathy and pity for Romeo and Juliet.
9. Othello : Othello’s anagnorisis in the play is also the moment of catharsis. Whe Othello realizes that he has been wronged and that he killed his Innocent wife, we feel more pity for than hatred of him.
10. Hamlet :  Hamlet’s character reveals flaws and instance of emotional purging.  Catharsis and hamartia are some of the elements of tragedy that he definitely expresses in Hamlet.  We also feel catharsis when Ophelia goes mad.

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Sad Urdu Poetry 2020 top best

Ghar ka rasta bhi milaa tha shayed,
Raah me sang-e-wafaa tha shayed,
Is qadar taiz hawa ke jhonke,
Shaakh pr phool khila tha shayed,
Jis ki baaton ke fasaane likhe,
Us ne to kuch na kaha tha shayed,
Log be-mehr na hote honge,
Veham sa dil ko hua tha shayed,
Tujh ko bhoole to dua tak bhoole,
Aur wohi waqt-e-duaa tha shayed,
Khoon-e-dil mei to duboya tha qalam,
Aur phir kuch na likha tha shayed,
Dil ka jo rang hai yeh rang-e-adaa,
Pehle ankhon mei rachaa tha shayed..









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Sunday, March 29, 2020

تیری محبت، میرا اثاثہ

تیری محبت، میرا اثاثہ


اندھیری رات میں رہتے تو کتنا اچھا تھا
ہم  اپنی ذات میں رہتے تو کتنا  اچھا تھا

دُکھوں نے بانٹ لیا ہے تمہارے بعد ہمیں
تمہارے بات میں رہتے تو کتنا اچھا تھا

گنگناتے ہوئے  آنچل کی ہوا        دے مجھ کو
اُنگلیاں پھیر کے بالوں میں سلادے مجھ کو

یاد کر کے مجھے تکلیف ہی ہوتی ہوگی
ایک قصہ ہوں پُرانا سا بھُلا دے مجھ کو

ڈوبتے ڈوبتے آواز تیری سُن جاؤں 
آخری بار تو ساحل سے صدا دے مجھ کو

مَیں تیرے ہجر میں چُپ چاپ نہ مر جاؤں کہیں
مَیں ہوں سکتے میں کبھی آگے رُلا دے مجھ کو

دیکھ میں ہوگیا بدنام کتابوں کی طرح
میری تشہیر نہ کر اَب تو جلا دے مجھ کو

روٹھنا تیرا میری جان لئے جاتا ہے
ایسے ناراض نہ ہو ہنس کے دِکھا دے مجھ کو

لوگ کہتے ہیں کہ یہ عشق نگل جاتا ہے
مَیں بھی اس عشق میں آیا ہوں، دعُا دے مجھ کو

یہی اوقات ہے میرے تیرے جیون میں کہ میں
کوئی کمزور سا لمحہ ہوں ،بھُلادے مجھ کو

اور کچھ نہیں مانگا میرے مالک تجھ سے
اس کی گلیوں میں پٹری خاک بنادے مجھ کو
چاندنی رات کے ہاتھوں پہ سواری اُتری ہے
کوئی خوشبو میرے دہلیز کے پار اُتری ہے

مجھے اجازت نہیں ہے اس کو پکارنے کی
جو گونجتا ہے لہو میں سینے کی دھرکنوں میں

ہر ایک موسم میں روشنی سی بکھیرتے ہیں
تمھارے غم کے چراغ میری اُداسیوں میں

جو تو نہیں تو یہ مکمل  نہ ہو سکھا
تیرے یہی اہمیت  ہے میری

عمر کاٹ دِی لیکن بچپنا نہیں جاتا
ہم دَیے جلاتے ہیں، اَب بھی تیری آہٹ پر

گھنٹیاں سی بجتی ہیں رقص ہونے لگتا ہے
درد جگماتے ہیں، اَ ب بھی تیری آہٹ پر
تیرے ہجر میں ہم اِک عذاب طاری ہے
چونک چونک جاتے ہیں، اَب بھی تیری آہٹ پر

اَب بھی تیری آہٹ پر چاند مسکراتا ہے
خواب کنکناتے ہیں، اَب بھی تیری آہٹ پر

دستکیں سجانے کے منتظر نہیں رہتے
راست سجاتے ہیں، اَب بھی تیری آہٹ پر

اُداس راتوں کی تیز کافی کی تلخیوں میں
وہ کچھ زیادہ ہی یاد آتا ہے سردیوں میں

جو ستم کرے آکر سب قبول ہے دل کو
ہم خوشی مناتے ہیں، اَب بھی تیری آہٹ پر

وہ بچپنا جو اُداس راہموں میں کھو گیا تھا
مَیں ڈھونڈتا ہوں اُسے تمھاری شراتوں میں
مجھے یقین ہے وہ تھام لے گا بھرم رکھے گا
یہ مان ہے تو دیے جلائےہیں آندھیوں میں

اُسے دلاسے دے رہا ہوں مگر یہ سچ ہے
کہیں کوئی خوف بڑھ رہا ہے تسلیوں میں

اَب بھی تیری آہٹ پر آس لوٹ آتی ہے
اَب دیے جلاتے ہیں، اَب بھی تیری آہٹ پر

تیری یاد آئے تو نیند جاتی رہتی ہے
خواب ٹوٹ جاتے ہیں، اَب بھی تیری آہٹ پر

زندگی خود بھی تجھے مرنا پڑے گا ورنہ
میرے قاتل کو کبھی بھی نہ سمجھ پائےگی

شبنمی ستاروں میں پھول کھِلنے لگتے ہیں
چاند مسکراتے ہیں، اَب بھی تیری آہٹ پر

زخم مسکراتے ہیں، اَب بھی تیری آہٹ پر
درد بھول جاتے ہیں، اَب بھی تیری آہٹ پر





Friday, March 27, 2020

Prompt: Birds and Wildlife Watching

We're into the final days of our "official" March prompt at Poets Online which is about "lost and found." I saw in the past week several submissions that address the current COVID-19 pandemic. One was a lost and found poem but the others were just about the pandemic in general. I understand the need for poets to write about what's happening, even if that's not what the prompt asked them to write.

I'm writing more than usual. I'm also continuing my daily walks which are often in my local woods but sometimes just suburban sidewalks where people give each other a wide (at least 6 feet) buffer now. But people are waving, nodding and saying hello more than usual.

Today's poem on The Writer's Almanac is "Look It Over" by Wendell Berry which fits in very nicely with my own walks.

I leave behind even
my walking stick. My knife
is in my pocket, but that
I have forgot. I bring
no car, no cell phone,
no computer, no camera,
no CD player, no fax, no
TV, not even a book. I go
into the woods...



I like watching the chickadees at my feeder. They seem so hyperactive, flitting to and from the feeder while others like the little finches and bully jays hang around and keep eating. The video above finally gave me an explanation of why they feed in that manner.

Poets and Writers sent out its weekly newsletter which always contains writing prompt or poets and prose writers. Their current poetry prompt suggestion is "animal watching," particularly birds, which exist in even the most urban environments. They might be visible from your nearby window or at a bird feeder.

There's a poem by Billy Collins ("Christmas Sparrow") about a bird that gets trapped in his house that he included in a beautifully illustrated anthology of bird poems that he edited, Bright Wings: An Illustrated Anthology of Poems About Birds.

...Then a noise in the throat of the cat
who was hunkered on the rug
told me how the bird had gotten inside,
carried in the cold night
through the flap of a basement door...

He is able to capture the sparrow in a shirt and gently carry it outside and free it, but

...For the rest of the day,
I could feel its wild thrumming
against my palms...


If you have written your "lost and found" poem (or that prompt isn't inspiring you) and want to try the Poets and Writers prompt on animal watching, please do so - and if you'd like to share the result - please post it as a comment to this post.

I will keep posting occasional prompts in the upcoming month besides our official April prompt. April is National Poetry Month and though events will be few, I think we need things like poetry more than ever right now.

Be well, write, and share your words.


         



Visit our website at poetsonline.org

Love Poetry in Urdu for Girlfriend Facebook

Today we are sharing the most romantic love poetry in urdu which You can send to your girlfriend, wife, fiance or any other friend. In this post You will also get Love Poetry in Urdu for Girlfriend Facebook which will also include romantic poetry in urdu for lovers. You can download these Urdu Poetry Images in high quality for free.

Previously Shared: Anaa Poetry in Urdu

Download Romantic Poetry for GF


Love Poetry in Urdu for Girlfriend Facebook
Download Urdu Romantic Shayari Images for Her


Teri Kahani , Saari Duniya
Mera Fasaana , Bus Aik Tum

تیری کہانی، ساری دنیا
میرا فسانہ، بس ایک  تم

Download Romantic Poetry for GF
Romantic Poetry in Urdu for Lovers Free Download

Main Lab Hun Meri Baat Ho Tum,

Main Tab Hun Jab Saath Ho Tum

میں لب ہوں میری بات ہو تم
میں تب ہوں جب ساتھ ہو تم

Urdu Love Poetry for Her


Urdu Love Poetry for Her
Love Poetry in Urdu Romantic


Na Tumhain Hosh Rahe Aur Na Muje Hosh Rahe
Is Qadar Toot K Chaho Muje Pagal Kar Do

نہ تمہیں ہوش رہے اور نہ مجھے ہوش رہے
اس قدر ٹوٹ کے چاہو مجھے پاگل کر دو

love poetry in urdu romantic
Love Shayari in Urdu for Girlfriend SMS

Kab Nahin Naaz Uthaye Hain Tumhare Mai Ne

Dekho Aanchal Pe Sajaye Hain Sitare Mai Ne

کب نہیں ناز اُٹھائے ہیں تمہارے میں نے
دیکھو آنچل پے سجاے ہیں ستارے میں نے

romantic poetry for gf in urdu
Love Poetry in Urdu Romantic 2 Line

Ehd e Rafaqat Theek Hai Lekin Mujhko Aesa Lagta Hai,

Tum Toh Mere Sath Rahogi Main Tanha Reh Jaunga

عہد رفاقت ٹھیک ہے لیکن مجھ کو ایسا لگتا ہے
تم تو میرے ساتھ رہو گی میں تنہا رہ جاؤں گا

So, Ajj hum ne is post me kch romantic poetry in urdu for lovers share ki hain jo k humain umeed hai apko pasand aye gi. Mazeed achi achi urdu shayari images k liye humara blog visit karte rahen.

Thursday, March 26, 2020

What is semantic structure

What is Semantic Structure in Linguistics?

WHAT IS SEMANTIC STRUCTURE IN LINGUISTICS?




SEMANTIC STRUCTURE


The study of meaning and its manifestation in language is normally referred to as semantics. Shorter Oxford Dictionary explains the term relating to signification or meaning. Martin Gray defines, “The study of the meanings of words: How words express their meanings and how their meanings have changed in time”. David Crystal states,” Semantic is the major branch of Linguistics devoted to the study of the meanings in language”. The vocabulary of a language contains a number of “Lexical Systems” in semantic structure of which can be described in terms of paradigmatic and syntagmatic sense – relations, or name sense relationships which can be divided into six categories:

1): Synonymy

2): Antonymy

3): Hyponymy

4): Polysemy

5): Homonomy

6): Collocation

1): Synonymy

The simplest definition of this term is that a word with a meaning identical to that of another word. One sense in several names is Synonymy that is two items are Synonymous they have the same sense. Lexical items can be regarded as the Synonymous it they can be interchange without altering the meanings of an utterance. Example The study of meaning and its manifestation in language is normally referred to as semantics. Shorter Oxford Dictionary explains the term relating to signification or meaning. Martin Gray defines, “The study of the meanings of words: How words express their meanings and how their meanings have changed in time”. David Crystal states,” Semantic is the major branch of Linguistics devoted to the study of the meanings in language”. The vocabulary of a language contains a number of “Lexical Systems” in semantic structure of which can be described in terms of paradigmatic and syntagmatic sense – relations, or name sense relationships which can be divided into six categories:

The simplest definition of this term is that a word with a meaning identical to that of another word. One sense in several names is Synonymy that is two items are Synonymous they have the same sense. Lexical items can be regarded as the Synonymous it they can be interchange without altering the meanings of utterance.

i): I saw a madman.

ii): I saw a lunatic.

iii): I saw a maddy.

iv): I saw a insane.

2): Antonymy

Antonymy is the oppositeness in pairs of lexical items where the  assertion of one implies the denial of the other. For example, big and small, little and much, few and many etc. Oppositeness of meaning has one of the most important semantic relations. In many languages there are dictionaries of synonyms and antonyms.

3): Hyponomy

Hyponomy is frequently referred to as inclusion or classification. For example, a cat is a hyponym of animal, flute of instrument, chair of furniture and so on. In each case there is a super ordinate term with reference to which the subordinate term can be defined, as is the usual practice in dictionary definitions.

4): Polysemy

A term used in semantic analysis to, refer to a lexical item which has a range different meanings. E.g. plain= clear, unadorned, obvious. Opposed to Monosemy. A large proportion of language is vocabulary Polysemic. The theoretical problem for the linguist is how to distinguish Polysemy or polysemic. Another type of Polysemy is that created by metaphor e.g. “body, human body, heavenly body, body politic. Another example “head” human head, head of the department, bridgehead, head office etc.

5):Homonymy

A term used in semantic analysis to refer to lexical items, which have the same form but differ in meaning. For example, “bark meaning the noise, a dog make or skin of a tree.

6): Collocation

While we study the collocation the structure of the vocabulary can be defined as the association of a lexical item with other lexical items. For example ink collocates with words pen, paper, letter and note book. Another example climb collocates with mountain, hill, tree and park.

Conclusion:

Summing up, we can say that the vocabulary of a language contains a number of lexical items, which are used in divergent situation. This structure is also called Sense Relation. They are divided into six sole categories such as Synonymy, Antonymy, Hyponymy, Polysemy, Homonomy and Collocation.


Friday, March 20, 2020

TLA Virtual Poetry Round Up

As you probably know, the annual conference of the Texas Library Association was cancelled--like so many other events-- due to the coronavirus outbreak we are all facing. It's always a great conference, so it's disappointing for all of us, but I'm especially disappointed to miss my 16th annual Poetry Round Up session which is always a hit. So, I hope to share a few videoclips that the poets who were set to appear have kindly made. Enjoy! And be sure to look for their new books!





First up: Irene Latham! Irene is the author of several books of fiction, nonfiction, and poetry: including Dear Wandering Wildebeest, When the Sun Shines on Antarctica, Fresh Delicious, and Can I Touch Your Hair? (with Charles Waters). She won the Lee Bennett Hopkins Promising Poet Award and is a regular speaker at schools, libraries, and festivals. She lives on a lake in Alabama with her family and is learning to play cello (spoiler alert!). Here, she talks about her newest book, Nine (published by Charlesbridge), and treats us to a concert!



Now hold to your hats, while Irene serenades us with her cello! 



Thanks so much for taking the time to create these videos for us, Irene! WONDERFUL! I can't wait to get my hands on Nine, too. 

[I debated about creating new posts for each poet, but lots of people are linking to this posting to share with kids (HOORAY!), so I'm going to keep adding poets right here!]


Next up: Leslie Bulion!
Poet Leslie Bulion is the author of many wonderful science-themed books of poetry for young people including Superlative Birds, Random Body Parts: Gross Anatomy Riddles in Verse, Leaf Litter Critters, At the Sea Floor Cafe: Odd Ocean Critter Poems, Hey, There, Stink Bug!, as well as middle grade fictional novels for young readers. Bulion studied science in college, oceanography in graduate school and worked with children and families. She loves photographing nature, scuba diving, and kayaking. Here, she shares a few poems, background stories, and activities from her new book, Amphibian Acrobats. Enjoy!



Next up: K.A. Holt!






Poet Kari Anne (K.A.) Holt is the author of several middle grade novels, especially novels in verse such as Rhyme Schemer, House Arrest, Knockout and the #ownvoices Redwood and Ponytail, as well as the picture book, I Wonder, illustrated by Kenard Pak. She lives in Austin, Texas, and is a co-founder of Typewriter Rodeo, a troop of poets who compose poems on request on-the-spot. Here she talks about two of her novels in verse. First: House Arrest.



Next, Kari talks about her forthcoming book, BenBee and the Teacher Griefer (I can't wait to read it!):

Next up: Zetta Elliott



Zetta Elliott is a poet, author, and an educator who was born in Canada and currently lives and writes in Pennsylvania. She earned a PhD from NYU and is the award-winning author of multiple works for adults and young readers including fiction, fantasy, plays, essays, a novella, picture books, YA novels, and middle grade fantasy. Her latest book is a poetry collection for young adults, Say Her Name. In the video linked here (click here), she reads a few selections from this new book, including a very helpful poem entitled, “Self Care.” Enjoy!

Elliott has also created a poetry workbook for teens, Find Your Voice, and I can send you a pdf of that (with Zetta’s permission) if you leave your name and email address in the comments. 

Finally: Vikram Madan!










As poet and artist Vikram Madan admits on his website, he grew up in India where he really wanted to be a cartoonist, but ended up an engineer. He now lives in Seattle and worked for years in the tech industry and then made the switch to art and writing, creating editorial cartoons, drawing and painting and exhibiting his art, and writing poetry for young people. His poetry is full of humor and wordplay, including The Bubble Collector, Lord of the Bubbles, and his new book, A Hatful of Dragons. He shares a poem from that new book here:

And here Vikram leads us in a 30-second flip through his new book:


And just for fun, Vikram has created a music video for a poem from his first book, The Bubble Collector:


Thank you, poets, for being part of my virtual Poetry Round Up! It's so kind of Irene Latham, Leslie Bulion, Kari Holt, Zetta Elliott, and Vikram Madan to take time to make videos for us to enjoy. I hope I can bring them all to TLA in the future for an in-person rock concert of poetry! Meanwhile, take care of yourselves, everyone-- and share poetry-- so therapeutic just now (and always!).

Thursday, March 19, 2020

Mourning Becomes Electra as a Modern Tragedy

Mourning Becomes Electra as a Modern Tragedy
Mourning Becomes Electra is one of O’Neill’s most grandiose creations based on his experiments with modern forms of tragedy. The play is a monumental revision and adaptation of Aeschylus’s ‘Oresteia’. This most ambitious work of O’Neill is an attempt to find a modern analogue to an ancient mode of experience. As a critic remarks, “The play aims to provide modern psychological approximation of the Greek sense of fate in time in which the notion of an escapable and fundamentally non-redemptive determinism is incomprehensible”. The play is a tale of a family torn apart by the past, present and future, psychological drives and jealousies. The play’s Greek roots and Freudian branches twist together into a gripping knot of jealousy, love, hate, betrayal, murder, suicide, justice, incest and fate from which the characters are powerless to extricate themselves. As a matter of fact, O’Neill, through recasting of Greek myth, presents American History and Freudian Psychology to show the self-destruction of an American family in New England at the end of American civil war. Being modern, O’Neill explores the psychological implications of tragedy far more than the Greeks did.
Before discussing the play as a tragedy and its similarities and departures from classical cannons, we must analyze how O’Neill recasts Greek Oresteia by substituting Greek personae and places with American ones. Here in Mourning Becomes Electra Ezra Mannon replaces Agamemnon, Livinia replaces Electra, Christine replaces Clytemnestra, Brant replaces Aegisthus, Orin replaces Orestes, Peter Niles replaces Pylades, servants like Seth replace chorus. American civil war replaces Trojan War. Even the roles and actions assigned to American personae are quite similar to those of the Greek. Ezra like Agamemnon is Patriarch, the head of the family who not only protects his family but also serves his nation. He enjoys gender and phallic supremacy and stands like a majestic tree under whose impregnable shade all of his wards grow stuntedly and dwarfishly. Both the modern and ancient Patriarchs overcome their enemies but are eliminated by their beloveds. Christine like Clytemnestra cuckolds her warring husband in his absence and develops liaison with Brant. Unlike Clytemnestra, boredom and confinement more than any personal loss account for Christine’s infidelity. Orin of Mourning Becomes Electra, like Orestes is gullied by Lavinia, the Electra, to avenge the murder of her father. Orin suffers from Oedipus complex and kills himself rather succumbs to grief caused by his mother’s death. Most importantly Lavinia, like Electra, loves her father, kills her mother in revenge, and finally confines herself in the Mannon house which is the common and colossal grave of the Mannons. Even O’Neill’s play features the Greek themes such as adultery, incest, murder, suicide, revenge, jealousies and madness.
Now we try to gauge Mourning Becomes Electra with reference to classical criterion and concept of tragedy. No doubt, the play displays certain distinct similarities and disparities with classic canons of tragedy. To talk about any modern play as a tragedy is to immediately enter into muddy waters. No modern play measures up to the classical standard of tragedy set by Aeschylus and defined by Aristotle. Quite ironically modern tragic plays evolve their identity more through their departures than their similarities with the classical models. We can enumerate the points of both concord and disagreement in this play with classical tragedies as follows.
Firstly, the play Mourning Becomes Electra does not conform to the classical concept of structure of a tragedy. The structure which Aristotle defines for a tragedy does not apply to this play or any modern play.
Secondly, in this play, there are not present any gods controlling, making and marring human destiny. In this play we cannot hear the echoes of ‘Lear’s cry’,
‘As flies to wanton boys are we to gods
They kill us for their sport’
Thirdly, fate, the chief cause of tragedy in classical tragedy has been substituted by such causes of tragedy as heredity, environment and social and psychological forces. It is true that these forces are as irreversible and uncontrollable in modern times as fate was in the modern times. Mourning Becomes Electra is a tragedy of a family ravaged by inherited curse and stifling demands of Puritanism.
Fourthly, the play does not comply with the Aristotelian concepts of tragic hero and Hamartia. In O’Neill’s world, “Tragic characters are far below the stature of Aristotelian tragic hero though Ezra Mannon is an exception”. Ezra is the only tragic figure who measures up to classical standards. He is a man of national importance and status. His fall is not as huge as that of Oedipus yet significant enough to be called tragic.
Fifthly, the classical concept of Hamartia does not apply to tragic figures in O’Neill’s world. Here the tragic flaw is more hereditary and societal than personal, though the fall is almost as shocking as in a classical tragedy. Here man falls through the causes that lie either in the past or in the social and the environmental conventions. About the tragic fall in Mourning Becomes Electra, Schophen Hauer ‘s sense of tragedy can be aptly applied when he says, “It is not his own individual sins the hero atones for, but original sin i.e. the crime of existence itself”.
Finally and most significantly, O’Neill is a tragedian whose tragic tone is distinctly modern and whose tragedies represent a modern shift of emphasis from a fatalistic view of destiny to a naturalistic and humanistic view. Here tragic conflict is not conceived in terms of gods and man as among the Greek or the devil and god as in medieval drama rather in psychological terms of the conscious and the unconscious. O’Neill shows how man becomes the victim of his own psychological drives. In Mourning Becomes Electra, the idea of pride and humility runs as the leitmotif. A lofty sense of pride can inspire man to ideals greater than the self and this over-whelming pride becomes his nemesis. The pride of the elder Mannons continues to haunt the younger generation, “the biological past creates the present”. Unlike the Greek here the curse is self-pronounced and the nemesis is self-bred. Seized by their neurotic mania the Mannons continue the process of self-cursing and self-killing. After the suicide of Christine, Orin suggests that Lavinia should kill him. “Can’t you see I’m in father’s place and you’re mother? That’s the evil destiny out the past”. Similarly Lavinia utters, I’m the last Mannon. I’ve got to punish myself”.
Before summing up our discussion, we should quote some critics who have very harsh views about this play. They declare the play as one of white elephants of American dramatic history. Even its creation has been called as one of ironies in career of O’Neill. They claim that the play lacks the great dialogue of tragedy. It fails as a tragedy because it presents over-simplified view of characters who are entirely motivated by Freudian complexes which O’Neill substitutes for the Greek idea of fate. Even a critic calls the play “A thirteen act monstrosity”.
On the other hand majority of the critics applaud the play as one of finest modern tragedies. Joseph Wood Crutch seems most eloquent in his praise for the play. He remarks “Mourning Becomes Electra has all virtues which one expects in the best of contemporary writings”. Even he ranks it along with great tragedies like Oedipus, Hamlet and Macbeth. This O’Neillean creation shows how human beings are great and terrible creatures when they are in the grip of great passions and the spectacle of them is not only absorbing but also at once horrible and cleansing. As the play deals with the dark psychology of characters, their hidden emotions, fears and deprivations embedded in the subconscious, unfulfilled desired, bleak grudges and revenge motifs. O’Neill’s own words are best elaboration of the play as a tragedy, “Mourning Becomes Electra is a modern tragic interpretation of classic fate without benefits of gods……. fate springing out of the family”.

Difference Between Morphology and Syntax

Linguistics is the study of language and its structure. Morphology and syntax are two major subdisciplines in the field of linguistics. Other subdisciplines of linguistics include phonetics, phonology, semantics, and pragmatics. Syntax is the study of the formation of sentences and morphology is the study of the formation of words. The final aim of both these fields is to study how meaning is produced in language. The main difference between morphology and syntax is that morphology studies how words are formed whereas syntax studies how sentences are formed. In this article, we’ll look at these fields in more detail.
This article covers,
1. What is Morphology
2. Types of Morphemes
2. What is Syntax
3. Difference Between Morphology and Syntax
What is Morphology
Morphology is another important subdiscipline of linguistics. Morphology studies the structure of words. It specifically examines how words are formed by putting together morphemes. A morpheme is the smallest grammatical and meaningful unit of a language. Different languages have different morphemes and different rules about the formation of words.
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Types of Morphemes
Morphemes can be divided into two basic categories called free morphemes and bound morphemes. A free morpheme is a meaningful unit that can stand alone as a word. In other words, it is a word made up of only one morpheme. For example;
mat, trust, slow, cat, old, fast, bring, man
A bound morpheme is a morpheme that cannot stand alone; it is always bound to another morpheme. Thus, a bound morpheme has no meaning on its own. For example;
slowly, talked, unthankful, blackish
Bound morphemes attached to the front of a word are called prefixes (distaste, untrue, etc.) and bound morphemes attached to the back of a word are called suffixes (valuable, sexual, etc.).
Bound Morphemes can be divided further into two categories called derivational and inflectional morphemes. Derivational morphemes are morphemes that are added to the base form of a word to create a new word.
Example 1:
Able ⇒ Ability
(adjective) → (noun)
Send ⇒ Sender
(verb)→ (noun)
Example 2:
Use⇒ Misuse
Stable ⇒ Unstable
(Meaning is totally changed.)
As seen from these examples, adding a derivational morpheme will change either the meaning or the class of the word.
Inflectional morphemes are a type of bound morphemes that do not cause a change in the meaning or word class: they serve as grammatical markers and indicate some grammatical information about a word.
Laughed –Past Tense
cats – Plural
Swimming – Progressive
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What is Syntax?
Syntax is a discipline of linguistics that studies the structure of sentence. Syntax is the study of rules, principles, and processes that govern the structure of sentences in any language. It pays attention to components such as word order, agreement, and the hierarchical structure of language. The meaning of any sentence in any language depends on the syntax.
For example, the sentences in the English language often formed by following a subject with a verb and the direct object. It is the positions of these words that convey the subject-object relationship. Look at the following sentences.
The cat ate the mouse.
The mouse ate the cat.
These two sentences convey two different meanings although they contain the exact same words. It is the word order of the sentences that affect the meaning of these two sentences.
The parts of a language are divided into different syntactic categories. Most sentences can be divided into two sections called subject and predicate. These two parts are also made of different words. Syntactical classes of words are known as parts of speech.
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Difference Between Morphology and Syntax
Definition
Morphology: Morphology studies the structure of words.
Syntax: Syntax studies the structure of sentences.
Smallest Unit
Morphology: Morphemes are the smallest units in morphology.
Syntax: Words are the smallest unit in syntax.
Content
Morphology: Morphology studies how words are formed.
Syntax: Syntax studies the word order and agreement

Stylistics

Stylistics

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Stylistics is a form of language and means of establishing principles. These principles are capable of explaining particular choices made by individuals and social groups in their use of language such as socialization, production and repetition. Defining stylistics F.L Lucas writes
‘’Style is a means by which a human being gains contact with others, it is personality clothed in words, character embodied in speech’’.

The word ‘stylistics’ has two interpretations. Narrowly it means the use of concepts and techniques of linguistics in studying the language of literary texts like poetry and novels. Broadly speaking it is the study of the aesthetic use of language in all circumstances not only in literature.

History of Stylistics= When we study the history of stylistics, we find that the term ‘stylistics’ is the product of early nineteenth century and it is first used in Grimm’s dictionary in German. In English the noun stylistic is found in 1864, while in French the first example of stylistics is from 1872, when Littre included the word in his dictionary. In our own century, Charles Bally regarding language as an intellectual, psychic and social system emphasized the expressive value of language and came to the conclusion that it was only the effective expression (stylistics) that constitutes the system of language.

Branches of Stylistics= Stylistics, like linguistics has two branches to deal with; sociostylistics and psychostylistics. Socio stylistics studies a literary text from the point of view of the varieties of language which is spoken by the various sections of society. While psycho stylistics deals with the temperament, creative ability and inner potential by which a literary critic expresses himself. So we can say that an author’s psyche can be seen through his imagery with the help of psychostylistics.

Register= In linguistic analysis, different styles of language are technically called ’’Register’’. Register is a style of speech which is suitable for certain professions or occupations. It has typical vocabulary and grammar and used by speakers in a particular context. It is one of the many forms of language and it grows in special circumstances. According to Halliday,

‘’Register is determined by what is taking place, who is taking part and what part the language is playing’’.
Halliday places great emphasis on the social context of register and distinguishes register from dialect. Dialecct is a regional, temporal or social variety within a single language while register is the variety of language that grows when language is used in a particular profession.
Approaches to Style= Enkvist in his essay ‘ On Defining Style’ mentions some approaches to style. They treat style as an embellishment, a set of individual and collective characteristics and as a set of relations among linguistic entities etc.
Style as an Embellishment= Every writer embellishes his writings by using different devices and characteristics of language and this embellishment is called writer’s style. As George Puttenham writes
‘’ Style is a constant and continual phrase and tenor of speaking and writing …..a certain contrived form and quality.’’
Style as a Set of individual or collective characteristics= The mind, person, characteristics, thought and feelings of the writer are called his style. The original thought of a writer cannot be separated from the way of presentation, style. According to Gibbon, ‘’Style is the image of character’’ while Buffon says that ‘’Style is the man himself’’. Thus we can say that style is the set of the characteristics of the writer.
Relationship between Stylistics and Literature= There is deep relationship between stylistics and literature because between true litterateur and linguistics there is no conflict. The real linguist is at least half a litterateur and real litterateur is half a linguist. Stylistics is an attempt to make literary criticism more scientific, methodical, objective and precise and it stresses the need to form a literary grammar of language. Moreover stylistics is the study of the linguistic features of a literary text. In “The Cambridge Encyclopedia of Language”, Crystel observes that stylistics analysis has attempted to deal with the complex and valued language within literature and he names it ‘Literary Stylistics’.
To cap up our discussion we can say that stylistics is a distinctive term that may be used to determine the connections between the form and effects within a particular variety of language. Therefore, stylistics looks at what is going on within the language; what the linguistic association are that the style of language reveals. Stylistics is the subject which helps to solve the complexity and mystery of style and its importance in linguistics cannot be denied.