Tuesday, December 31, 2019

British Poetry Solved Assignment 2020


Q. 1 Explain any two of the excepts of poems given below with reference to their context:
(i)             Now, sire”, quod she, “When we flee fro the bemes
            For Goddess love, as taak som laxative.

           Up peril of my soule and o lif,
           I counseille yow the beeste, I wol nat lye



From The Canterbury Tales: The Nun's Priest's Tale
A poor widow lives in a little cabin with her two girls. Her fundamental belonging is a respectable chicken called Chaunticleer. This chicken is lovely, and no place in the land is there a rooster who can coordinate him in crowing. He is the ace, so he thinks, of seven stunning hens. The loveliest of these is the wonderful and thoughtful Lady Pertelote. She holds the core of Chaunticleer and offers in the entirety of his wonders and every one of his issues. 
One spring morning, Chaunticleer stirs from an awful dream of a mammoth meandering in the yard attempting to hold onto him. This current mammoth's shading and markings were a lot of equivalent to a fox. Woman Pertelote shouts out, "For disgrace . . . . Fie on you/wanton weakling" ("Avoi (defeatist) . . . fy on you, herteless") and discloses to him that fearing dreams is apprehensive and that, by indicating such dread, he has lost her adoration. She discloses to him he imagined in light of the fact that he ate excessively and that it is notable that fantasies have no significance; he just needs a diuretic. Chaunticleer benevolently expresses gratitude toward Lady Pertelote, yet he cites specialists who keep up that fantasies have an unmistakable significance and demands that he needn't bother with a diuretic.



Afterward, Chaunticleer notices a fox named Don Russel, who is stowing away close to the yard. Chaunticleer starts to run, however the fox tenderly gets out that he just came to hear Chaunticleer's wonderful voice. Hearing this, the vain chicken closes his eyes and suddenly starts singing. Right then and there, the fox races to the rooster, handles him about the neck, and snatches him. The hens in the farm make such a horrible uproar, that they stimulate the whole family unit. Before long the widow, her two little girls, the canines, hens, geese, ducks, and even the honey bees, are pursuing the fox.
  
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Chaunticleer recommends to the fox to pivot and yell affronts at his followers. The fox, believing Chaunticleer's thought a decent one, opens his mouth, and Chaunticleer agilely disappears to a treetop. The fox attempts by and by to bait Chaunticleer somewhere around praises and honeyed words, yet the chicken has taken in his exercise.


At the finish of the story, the Host adulates the Nun's Priest. Watching the Priest's heavenly build, he remarks that, if the Priest were mainstream, his masculinity would require seven hens, yet seventeen. He much appreciated "Sir Priest" for the fine story and goes to another for the following story.

Investigation
The Nun's Priest's Tale is one of Chaucer's most splendid stories, and it works on a few levels. The story is an extraordinary case of the artistic style known as a bestiary (or a monster tale) wherein creatures carry on like people. Subsequently, this sort of tale is frequently an affront to man or an editorial on man's shortcomings. To propose that creatures carry on like people is to recommend that people regularly act like creatures.

This story is told utilizing the system of the counterfeit chivalrous, which takes an insignificant occasion and lifts it into something of extraordinary all inclusive import. Alexander Pope's lyric The Rape of the Lock is an amazing model a counterfeit gallant piece; it treats a trifling occasion (the robbery of a lock of hair, for this situation) as though it were wonderful. In this manner when Don Russel, the fox, escapes with Chaunticleer in his jaws, the pursuit that follows includes each animal on the premises, and the whole scene is described in the raised language found in the extraordinary legends where such language was utilized to upgrade the astonishing deeds of epic saints. Chaucer utilizes raised language to depict a fox getting a chicken in a farm — a long ways from the great stories. The pursuit itself helps one to remember Achilles' pursuing Hector around the fortifications in the Iliad. To contrast the predicament of Chaunticleer with that of Homer's Hector and to propose that the pursuit of the fox is an epic pursue like old style sagas shows the comic ridiculousness of the circumstance.



The counterfeit chivalrous tone is likewise utilized in different occasions: when the Nun's Priest depicts the catch of the Don Russel and alludes to the occasion as far as other unmistakable double crossers (alluding to the fox as "another Iscariot, a second Ganelon and a bogus wolf in sheep's clothing, Greek Sinon") and when the farm animals examine high philosophical and religious inquiries. For Lady Pertelote and Chaunticleer to examine divine foresight in a high intelligent and moral tone with regards to farm chickens is the stature of comic incongruity. We should likewise recollect the reason for the talk of awesome prescience: Lady Pertelote feels that Chaunticleer's fantasy or bad dream was the consequence of his obstruction, and she suggests a purgative. Chaunticleer's rejoinder is a splendid utilization of old style sources that remark on dreams and is a brilliantly funny methods for demonstrating that he isn't blocked up and needn't bother with a diuretic. All through the fake brave, humankind loses a lot of its human nobility and is decreased to creature esteems.


The Nun's Priest's thoughts and positions are set up in his amicably amusing disposition toward both the straightforward existence of the widow and the life of the rich and the incredible as spoke to by the cockerel, Chaunticleer (in Chaucer's English, the name signifies "clear singing"). The Nun's Priest's opening lines set up the complexity. A poor old widow with little property and little salary has an inadequate existence, and it doesn't cost much for her to get along. The suggestion is that carrying on with the unassuming Christian life is simpler for the poor than for the rich, who have, as Chaunticleer, numerous commitments and incredible obligations (all things considered, if Chaunticleer doesn't crow at day break, the sun can't rise).

The Nun's Priest differentiates the two human universes of poor people and the wealthy in the portrayal of the poor widow and the rich Chaunticleer. The widow's "bour and halle" (room) was "ful dirty," that is dark from the hearth-fire where she had eaten numerous a thin or slim feast. Notice the complexity: The expression "bour and halle" originates from elegant stanza of the time and invokes the picture of a château. The possibility of a "dirty thicket" or lobby is ridiculous: The rich could never permit a wonder such as this. However residue is unavoidable in a worker's cottage, and from the laborer's perspective, the neatness obsession of the rich may likewise be preposterous. A thin supper ("sklendre meel") would obviously be incomprehensible among the rich, yet it is all the poor widow has. Moreover, the widow has no incredible need of any "poynaunt sauce" since she has no gamey nourishment (deer, swan, ducks, and do on) nor meats safeguarded past their season, and no refined plans. She has "No dayntee piece" to go through her "throte," yet at that point, when Chaucer substitutes "throat" ("throte) for the normal "lips," the humble piece that the picture calls up is never again petite. The refined sickness gout doesn't prevent the widow from moving, yet it's improbable that she moves at any rate. Moving is for the youthful or rich. As a devout lower-class Christian, she despises moving of numerous sorts. To put it plainly, the entire depiction of the widow takes a gander at both the rich and poor people.



At the point when the Nun's Priest goes to Chaunticleer, he starts to remark on the life of the wealthy in other unexpected manners. Chaunticleer has extraordinary gifts and grave duties, yet the cockerel's ability (crowing) is a marginally ludicrous one, anyway glad he might be of it. (In center English. as in present day, "crowing" can likewise mean gloating or boasting.) And Chaunticleer's obligation, ensuring the sun doesn't return down in the first part of the day, is ridiculous. His different obligations — dealing with his spouses — are similarly senseless. Some portion of the Nun's Priest's strategy in his cheerful investigation of human pride is an amusing distinguishing proof of Chaunticleer with everything respectable that he can consider. His physical portrayal, which utilizes huge numbers of the descriptive words that would be utilized to depict the warrior/knight (words, for example, "crenelated," "stronghold Wall," "fine coral," "cleaned stream," "purplish blue," "lilies," and "polished gold," for instance) helps one to remember a rich knight in sparkling reinforcement.



The peruser ought to be always mindful of the unexpected complexity between the farm and this present reality, which may be another kind of farm. That is, the "mankind" and "honorability" of the animals is unexpectedly compared against their farm life. This differentiation is a diagonal remark on human demands and desires in perspective on the foundation, clarified when Don Russel challenges Chaunticleer to sing, and the honeyed words blinds Chaunticleer to the foul play. Here, the story alludes to people and the bad form found in the court through honeyed words. Chaunticleer's getaway is likewise affected by the utilization of blandishment. Wear Russel discovers that he ought not jibber jabber or tune in to honeyed words when it is smarter to stay silent. Also, Chaunticleer has discovered that adulation and pride go before a fall.



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