Jonathan Swift (1667–1745)

Jonathan Swift was the greatest satirist in the history of English literature Jonathan Swift was born on November 30, 1667 in Dublin in an English family. His family lives in poverty. Jonathan was brought up by his prosperous uncle.

He studied theology. His favorite subjects, however, were literature, history and languages.

He took the Master of Arts Degree at Oxford University.

Among his early work was the allegory “Tale of a Tub”, a biting satire on religion. The meaning of the allegory was quite clear to the readers of that time. The Tub was religion which the state threw to its people to distract them from any struggle. The satire is written in the form of a story about three brothers symbolizing the three main religions in England.

Swift's literary work was always closely connected with his political activity.

His main novel Gulliver's Travels brought him fame and immortality. Gulliver's Travels is the summit of Swift's creative work and one of the best works in world literature. It is one of the books most loved by children. However, it was an exposure of all the evils and vices of the bourgeois society, of its corruption and degradation.

The book consists of four independent parts that tell about the adventures of Gulliver.

The land of Lilliput is a satirical symbol of the England of Swift's time. The author laughs at the shallow interests of the Lilliputians who are as small in intellect as in size.

Swift's art had a great effect on the further development of English and European literature. The main features of his artistic method were widely used by English novelists and many other foreign writers.

№16 Romanticism in English Literature

Romanticism was an artistic, literary, and intellectual movement that originated in Europe toward the end of the 18th century. Scholars regard the publishing of William Wordsworth's and Samuel Coleridge's Lyrical Ballads in 1798 as probably the beginning of the movement, and the crowning of Queen Victoria in 1837 as its end.[1] Romanticism arrived in other parts of the English-speaking world later; in America, it arrived around 1820.

The Romantic period was one of major social change in England, due to depopulation of the countryside and rapid development of overcrowded industrial cities that took place roughly between 1798 and 1832. The movement of so many people in England was the result of two forces: the Agricultural Revolution, which involved enclosures that drove workers and their families off the land, and the Industrial Revolution which provided them employment, "in the factories and mills, operated by machines driven by steam-power".[2] Indeed, Romanticism may be seen in part as a reaction to the Industrial Revolution,[3] though it was also a revolt against aristocratic social and political norms of the Age of Enlightenment, as well as a reaction against the scientific rationalization of nature.[4] The French Revolution was an especially important influence on the political thinking of many notable Romantic figures at this time as well.[5]

The Romantic movement in English literature of the early 19th century has its roots in 18th-century poetry, the Gothic novel and the novel of sensibility.[6] This includes the graveyard poets, who were a number of pre-Romantic English poets writing in the 1740's and later, whose works are characterized by their gloomy meditations on mortality, "skulls and coffins, epitaphs and worms" in the context of the graveyard.[7] To this was added by later practitioners, a feeling for the "sublime" and uncanny, and an interest in ancient English poetic forms and folk poetry.[8] These concepts are often considered precursors of the Gothic genre.[9] Some major Gothic poets include Thomas Gray (1716–71), whose Elegy Written in a Country Churchyard (1751) is "the best known product of this kind of sensibility";[10] William Cowper (1731–1800); Christopher Smart (1722–71); Thomas Chatterton (1752–70); Robert Blair (1699–1746), author of The Grave (1743), "which celebrates the horror of death";[11] and Edward Young (1683–1765), whose The Complaint, or Night-Thoughts on Life, Death and Immortality (1742–45) is another "noted example of the graveyard genre".[12] Other precursors of Romanticism are the poets James Thomson (1700–48) and James Macpherson (1736–96).[6]

The sentimental novel or "novel of sensibility" is a genre which developed during the second half of the 18th century. It celebrates the emotional and intellectual concepts of sentiment, sentimentalism and sensibility. Sentimentalism, which is to be distinguished from sensibility, was a fashion in both poetry and prose fiction which began in reaction to the rationalism of the Augustan Age. Sentimental novels relied on emotional response both from their readers and characters. Scenes of distress and tenderness are common, and the plot is arranged to advance emotions rather than action. The result is a valorization of "fine feeling", displaying the characters as models for refined, sensitive emotional effect. The ability to display feelings was thought to show character and experience, and to shape social life and relations.[13] Among the most famous sentimental novels in English are Samuel Richardson's Pamela, or Virtue Rewarded (1740), Oliver Goldsmith's The Vicar of Wakefield (1766), Laurence Sterne's Tristram Shandy (1759–67) and A Sentimental Journey (1768), Henry Brooke's The Fool of Quality (1765–70), Henry Mackenzie's The Man of Feeling (1771) and Maria Edgeworth's Castle Rackrent (1800).[14]

№ 17 Creative Activities of G.G. Byron

Lord Byron was a leading figure of the Romantic Movement. His specific ideas about life and nature benefitted the world of literature. Marked by Hudibrastic verse, blank verse, allusive imagery, heroic couplets, and complex structures, his diverse literary pieces won global acclaim. However, his early work, Fugitive Pieces, brought him to the center of criticism, but his later works made inroads into the literary world. He successfully used blank verse and satire in his pieces to explore the ideas of love and nature. Although he is known as a romantic poet, his poems, “The Prisoner of Chillon” and “Darkness” where attempts to discuss reality as it is without adding fictional elements. The recurring themes in most of his pieces are nature, the folly of love, realism in literature, liberty and the power of art.

Lord Byron’s Famous Works

Best Poems: Lord Byron is a great English poet, some his popular poems include: “She Walks in Beauty”, “Darkness”, “There Be None of Beauty’s Daughter”, “The Eve of Waterloo”, “When We Two Parted” and “And Thou Art Dead, As Young and Fair.”

Other Works: Besides poetry, he tried his hands on the tragedy in verse form. Some of them include The Two Foscari: A Historical Tragedy, Sardanapalus, Marino Faliero and The Prophecy of Dante.

Lord Byron’s Impact on Future Literature

Lord Byron’s unique literary ideas brought new perspectives for English literature. His distinctive writing approach and experimentation with epics and lyrics made him stand out even among the best poets. His narrative and lyrical works are regarded as masterpieces and had had significant impacts on generations. He successfully documented his ideas and feelings about historical tragedies and romanticism in his writings that even today, writers try to imitate his unique style, considering him a beacon for writing plays and poetry.

Famous Quotes

“What is the end of Fame? ‘is but to fill
A certain portion of uncertain paper:
Some liken it to climbing up a hill,
Whose summit, like all hills, is lost in vapor?
For this men write, speak, preach, and heroes kill,
And bards burn what they call their “midnight taper,”
To have, when the original is dust,
A name, a wretched picture, and worse bust.” (Don Juan)

Oh! Too convincing–dangerously dear–
In woman’s eye the unanswerable tear!
That weapon of her weakness she can wield,
To save, subdue–at once her spear and shield. (The Corsair)

Sorrow is Knowledge: they who know the most
Must mourn the deepest o’er the fatal truth,
The Tree of Knowledge is not that of Life. (Manfred)

№18 Creative Activities of W. Scott

Sir Walter Scott is a storytelling author. The story is in third person, but when he wishes to explain something to the reader he breaks in and resorts to first person. His point of view is of one watching an exciting drama and relaying what he sees with suitable explanation so that none of the excitement is lost.

He uses a disjointed flashback. He carries the action of one group to a certain point and then goes back to pick up another group to bring it into logical position. It is as though he were weaving together varied colored threads into one exquisite pattern. It is his task to put the threads together so that the finished piece of cloth is one carefully wrought, panoramic scene. Foremost are the figures, often in violent action, against a background of vivid natural beauty. To miss the description is to rob the piece of its wholeness and to be impatient with the archaic and distinctive words is to destroy the medieval setting.

He gives structural clues to move the story along, such as Rebecca's warning of robbers to Gurth, which prepares the reader for the swineherd's encounter with the thieves; Fang's howling precipitates the capture by De Bracy; the phrase which the Prior drops, "the witch of Endor," signifies Rebecca's trial.

№19 Victorian English Literature

Victorian literature is literature, mainly written in English, during the reign of Queen Victoria (1837–1901) (the Victorian era). It was preceded by Romanticism and followed by the Edwardian era (1901–1910).

While in the preceding Romantic period, poetry had been the conquerors, novels were the emperors of the Victorian period.[clarification needed] Charles Dickens (1812–1870) dominated the first part of Victoria's reign and most rightly can be called "The King of Victorian Literature".[citation needed] His first novel, The Pickwick Papers, was published in 1836, and his last Our Mutual Friend between 1864–5. William Thackeray's (1811–1863) most famous work Vanity Fair appeared in 1848, and the three Brontë sisters, Charlotte (1816–55), Emily (1818–48) and Anne (1820–49), also published significant works in the 1840s. A major later novel was George Eliot's (1819–80) Middlemarch (1872), while the major novelist of the later part of Queen Victoria's reign was Thomas Hardy (1840–1928), whose first novel, Under the Greenwood Tree, appeared in 1872 and his last, Jude the Obscure, in 1895.

Robert Browning (1812–89) and Alfred Tennyson (1809–92) were Victorian England's most famous poets, though more recent taste has tended to prefer the poetry of Thomas Hardy, who, though he wrote poetry throughout his life, did not publish a collection until 1898, as well as that of Gerard Manley Hopkins (1844–89), whose poetry was published posthumously in 1918. Algernon Charles Swinburne (1837–1909) is also considered an important literary figure of the period, especially his poems and critical writings. Early poetry of W. B. Yeats was also published in Victoria's reign. With regard to the theatre it was not until the last decades of the nineteenth century that any significant works were produced. This began with Gilbert and Sullivan's comic operas, from the 1870s, various plays of George Bernard Shaw (1856–1950) in the 1890s, and Oscar Wilde's (1854–1900) The Importance of Being Earnest.

Victorian novels tend to be idealized portraits of difficult lives in which hard work, perseverance, love and luck win out in the end. They were usually inclined towards being of improving nature with a central moral lesson at heart. While this formula was the basis for much of earlier Victorian fiction, the situation became more complex as the century progressed.

Victorian Poetry was also indifferent from the already stated style. Much of the work of the time is seen as a bridge between the romantic era and the modernist poetry of the next century.

Alfred Lord Tennyson held the poet laureateship for over forty years. The husband and wife poetry team of Elizabeth Barrett Browning and Robert Browning conducted their love affair through verse and produced many tender and passionate poems.

Significant Victorian novelists and poets include: Matthew Arnold,

the Bronte sisters,

Christina Rossetti,

Joseph Conrad,

Robert Browning,

Sir Arthur Conan Doyle,

Elizabeth Barrett Browning,

Edward Bulwer-Lytton,

Wilkie Collins,

Charles Dickens,

Benjamin Disraeli,

George Eliot,

George Meredith,

Elizabeth Gaskell,

George Gissing,

Richard Jefferies,

Thomas Hardy,

A. E. Housman,

Rudyard Kipling,

Robert Louis Stevenson,

Bram Stoker,

Algernon Charles Swinburne,

Philip Meadows Taylor,

Alfred Lord Tennyson biography,

William Thackeray,

Anthony Trollope,

George MacDonald,

G.M. Hopkins,

Oscar Wilde,

Lewis Carroll.

№20 Creative Activities of Ch. Dickens

Charles Dickens has a very distinct writing style; he writes in a poetic way and uses a lot of satire and consequently humor. Since Dickens’s started off his literary career writing papers for newspapers most of his stories are in an episodic form. He is a master using this method in his stories, using cliff hanger endings he was able to keep his readers interested in his stories. Dickens uses idealized characters in his books, this in itself can be a very bad thing because an idealized character does not have any room to grow throughout the course of the book. However Dickens does not make all of his characters perfect, rather he uses his idealized characters to contrast the ugly side of life that he so often portrays. Oliver Twist is an example of one of his idealized characters, during the course of the book Oliver is put through many trials including an evil orphanage and a small training center for thieves. Throughout all of this Oliver is naive and his values are never compromised even though he is put in very difficult situations. Seeing the ugly circumstances that Oliver so often occupies, it is no wonder that Dickens chose to idealize Oliver and give the reader something to love completely. If Dickens had not idealized Oliver the book would have been dark with very little joy in it.

Dickens also loves to employ incredible circumstances in his books. In Oliver Twist, Oliver turns out to be the nephew of the rich high class family that rescues him from the gang of thieves that Oliver had fallen in with. Using these incredible coincidences was popular for authors during Dickens’s time, but he uses it in a distinct way. While other authors of the period would use the method to further their plot in their simple picturesque stories, Dickens’s took the approach that good will triumph over evil sometimes even in very unexpected ways and he used the method of incredible circumstances to show his outlook.

A Christmas Carole is one of the best loved Christmas stories of all time. In a Christmas Carole Dickens uses music and mysterious ghosts to bring to bring an old miser the message of Christmas. Ebenezer Scrooge is a very rich business man that makes his living by lending money to the less fortunate and charging them large amounts interest. This often leads to his borrowers going out of business but Scrooge is selfish and he does not care what happens to other people so long as his supply of money continues to increase. Here Dickens’s is critiquing the rich upper class in Londonwho largely ignored the starving population outside their window. On Christmas Eve Scrooge is visited by a ghost of his old partner. This ghost tells or the horrors that await him in the afterlife because of all the crimes he had committed against his fellow man. Once the ghost disappears Scrooge attempts to convince himself that the Ghost did not come at all. Here Dickens is critiquing all of the upper class citizens in London. They lead their lives pretending that they had no obligations to help their fellow man, except possibly a giving a few pounds to the poor on Sundays. Whistling in the dark was how they lived their lives and this was exactly what Scrooge was attempting to do.

№21 Gothic Fiction in English Literature

Gothic fiction, which is largely known by the subgenre of Gothic horror, is a genre or mode of literature and film that combines fiction and horror, death, and at times romance. Its origin is attributed to English author Horace Walpole, with his 1764 novel The Castle of Otranto, subtitled (in its second edition) "A Gothic Story". Gothic fiction tends to place emphasis on both emotion and a pleasurable kind of terror, serving as an extension of the Romantic literary movement that was relatively new at the time that Walpole's novel was published. The most common of these "pleasures" among Gothic readers was the sublime—an indescribable feeling that "takes us beyond ourselves."[1] The literary genre originated in England in the second half of the 18th century where, following Walpole, it was further developed by Clara Reeve, Ann Radcliffe, William Thomas Beckford and Matthew Lewis. The genre had much success in the 19th century, as witnessed in prose by Mary Shelley's Frankenstein and the works of Edgar Allan Poe as well as Charles Dickens with his novella, A Christmas Carol, and in poetry in the work of Samuel Taylor Coleridge, and Lord Byron. Another well known novel in this genre, dating from the late Victorian era, is Bram Stoker's Dracula. The name Gothic, which originally referred to the Goths, and then came to mean "German",[2] refers to the Gothic architecture of the medieval era of European history, in which many of these stories take place. This extreme form of Romanticism was very popular throughout Europe, especially among English- and German-language writers and artists. The English Gothic novel also led to new novel types such as the German Schauerroman and the French roman noir.

The Castle of Otranto (1764) is regarded as the first Gothic novel. The aesthetics of the book have shaped modern-day gothic books, films, art, music and the goth subculture.[3]

The novel usually regarded as the first Gothic novel is The Castle of Otranto by English author Horace Walpole, which was first published in 1764.[3] Walpole's declared aim was to combine elements of the medieval romance, which he deemed too fanciful, and the modern novel, which he considered to be too confined to strict realism.[4] The basic plot created many other staple Gothic generic traits, including threatening mysteries and ancestral curses, as well as countless trappings such as hidden passages and oft-fainting heroines.

Walpole published the first edition disguised as a medieval romance from Italy discovered and republished by a fictitious translator. When Walpole admitted to his authorship in the second edition, its originally favourable reception by literary reviewers changed into rejection. The reviewers' rejection reflected a larger cultural bias: the romance was usually held in contempt by the educated as a tawdry and debased kind of writing; the genre had gained some respectability only through the works of Samuel Richardson and Henry Fielding.[5] A romance with superstitious elements, and moreover void of didactical intention, was considered a setback and not acceptable. Walpole's forgery, together with the blend of history and fiction, contravened the principles of the Enlightenment and associated the Gothic novel with fake documentation.

№22 Сreative Activities of the Bronte Sisters

Charlotte, Emily and Anne Brontë were sisters and writers whose novels have become classics.

Their novels are included in the list of top 100 best literary works of all times. This is a kind of literature that every educated person should be familiar with.

Bronte sisters have mastered the art of storytelling. It`s not rare that talent runs in the family, but this run is one of the most successful of all times. Charlotte, Emily and Anne Bronte made the world of novelists of that time shake in wonder. Their stories didn`t have the main focus on men, they were picturing the life of many people, but the center of attention was a strong and dedicated woman.

It was an utter success. Please find the time and desire to read their books, and you`ll also find passion in them. The Bronte sisters have rather individualistic styles. Each of them managed to create very prominent features of the narrative, they are recognizable and adored all over the world.

However, there are some common traits that you can find in the works of the trio. It`s the way they turn the life of a person into a story that captivates you completely and won`t let go until you read it till the end.

You know that this book is good and this author is talented when you sacrifice your sleep and lunch because of the thirst that you have, you just need to know more and more. Any of their works can be reviewed by Wedohomework writers with ease.

It`s no wonder that you can spot some similar features in the works of Bronte sisters. They were very close and were coming up with all kinds of fantastic stories while playing. The mother`s death influenced the girls greatly, and you can see a reflection of this event in some of their novels. If you want to know more about these events and surroundings that were inspiring for the mega-talented sisters, just click on this article.

See? It`s very easy.

Charlotte Bronte

I highly doubt that there is a person on this planet who has never heard the name of Jane Eyre. They might not know who she was and what she was famous for, but the name itself is quite recognizable. The novel became a huge success, and it is still stealing hearts of millions of people of all ages from all over the world.

“Jane Eyre” is written in a form of an educational novel. It describes a long and painful life path of the main character. A reader can follow her through everything she experiences. What is more, this novel is written in the first person, so we do sympathize her at such a personal level.

When we are talking about the other works of Charlotte Bronte, it`s worth mentioning that they are written in a pretty simple language. You feel like that`s the way people were actually talking back in that day. Of course, some phrases may sound pretentious, but that was just a form of a polite conversation. Some literary critics praise the author for the spontaneity of her style and straightforwardness towards her readers.

Emily Bronte

She wrote only one novel, but it is worth hundreds of works created by dozens of other authors. “Wuthering Heights” and its passionate, captivating style will make you compare this novel to each and every one that you`ve already read. And you will fail to find a book that would be equal to this masterpiece, taking into consideration its characters, language, and the whole storyline.

Don`t forget that we`re talking about the Victorian Era here. It was hard for women to stand their ground and to show that they were worth being called prominent writers. In addition to this, Emily Bronte described some serious vices of that historical time: hypocrisy, infidelity, confrontation between the social classes, gender inequality. Everything is so dramatic and spicy! Yet, if your assignment concerns Emily, writing on it is one of many general tasks.

Anne Bronte

Her most famous and praised work “The Tenant of Wildfell Hall” was an immediate success. Literary critics also claim that it was the most shocking novel among all Bronte sisters` books. Why so? As you may know from history classes or at least from romantic movies about the Victorian era, it was a rather prudish time, and the society had way too many prejudices. People were framed in and by a certain type of behavior. This one and only type was acceptable in people’s.

Anne Bronte`s work was phenomenal mainly because she was brave and reckless enough to write about alcoholism and debauchery. For the religious English society, it was way too much to handle. Nevertheless, the readers loved the book, and it became an instant hit. It was the second and the last novel written by the youngest Bronte.

“The Tenant of Wildfell Hall” was supposed to be re-published after the author’s death, but her sister Charlotte wouldn`t let this happen. Jealousy, perhaps? Well, we`ll never know. But what we know for sure is that these ladies were extremely cool and that they shared very powerful feminist ideas through their novels.

№23 Science Fiction in English Literature

Science fiction (sometimes called sci-fi or just SF) is a genre of speculative fiction that typically deals with imaginative and futuristic concepts such as advanced science and technology, space exploration, time travel, parallel universes, and extraterrestrial life. It has been called the "literature of ideas", and often explores the potential consequences of scientific, social, and technological innovations

Science fiction, whose roots go back to ancient times, is related to fantasy, horror, and superhero fiction, and contains many subgenres. However its exact definition has long been disputed among authors, critics, and scholars.

Science fiction literature, film, television, and other media have become popular and influential over much of the world. Besides providing entertainment, it can also criticize present-day society, and is often said to inspire a "sense of wonder".

Science fiction had its beginnings in ancient times, when the line between myth and fact was blurred. Written in the 2nd century CE by the satirist Lucian, A True Story contains many themes and tropes characteristic of modern science fiction, including travel to other worlds, extraterrestrial lifeforms, interplanetary warfare, and artificial life. Some consider it the first science-fiction novel. Some of the stories from The Arabian Nights,[19][20] along with the 10th-century The Tale of the Bamboo Cutter[20] and Ibn al-Nafis's 13th-century Theologus Autodidactus also contain elements of science fiction.

Products of the Scientific Revolution and the Age of Enlightenment, Johannes Kepler's Somnium (1634), Francis Bacon's New Atlantis (1627), Cyrano de Bergerac's Comical History of the States and Empires of the Moon (1657) and The States and Empires of the Sun (1662), Margaret Cavendish's "The Blazing World" (1666), Jonathan Swift's Gulliver's Travels (1726), Ludvig Holberg's Nicolai Klimii Iter Subterraneum (1741) and Voltaire's Micromégas (1752) are regarded as some of the first true science-fantasy works. Isaac Asimov and Carl Sagan considered Somnium the first science-fiction story; it depicts a journey to the Moon and how the Earth's motion is seen from there.[29][30]

Following the 18th-century development of the novel as a literary form, Mary Shelley's Frankenstein (1818) and The Last Man (1826) helped define the form of the science-fiction novel. Brian Aldiss has argued that Frankenstein was the first work of science fiction. Edgar Allan Poe wrote several stories considered to be science fiction, including "The Unparalleled Adventure of One Hans Pfaall" (1835) which featured a trip to the Moon. Jules Verne was noted for his attention to detail and scientific accuracy, especially in Twenty Thousand Leagues Under the Sea (1870). In 1887, the novel El anacronópete by Spanish author Enrique Gaspar y Rimbau introduced the first time machine.[39][40]

№24 Creative Activities of H. Wells

In 1895, Wells became an overnight literary sensation with the publication of the novel The Time Machine. The book was about an English scientist who develops a time travel machine. While entertaining, the work also explored social and scientific topics, from class conflict to evolution. These themes recurred in some of his other popular works from this time.

Wells continued to write what some have called scientific romances, but others consider early examples of science fiction. In quick succession, he published the The Island of Doctor Moreau (1896), The Invisible Man (1897) and The War of the Worlds (1898). The Island of Doctor Moreau told the story of a man who encounters a scientist conducting the gruesome experiments on animals, creating new species of creatures. In The Invisible Man, Wells explores the life of another scientist who undergoes a dark personal transformation after turning himself invisible. The War of the Worlds, a novel about an alien invasion, later caused a panic when an adaptation of the tale was broadcast on American radio. On Halloween night of 1938, Orson Welles went on the air with his version of The War of the Worlds, claiming that aliens had landed in New Jersey.

In addition to his fiction, Wells wrote many essays, articles and nonfiction books. He served as a book reviewer for the Saturday Review for several years, during which time he promoted the careers of James Joyce and Joseph Conrad. In 1901, Wells published a non-fiction book called Anticipations. This collection of predictions has proved to be remarkably accurate. Wells forecasted the rise of major cities and suburbs, economic globalization, and aspects of future military conflicts. Remarkably, considering his support for women and women's rights, Wells did not predict the rise of women in the workplace.

Politically, Wells supported socialist ideals. For a time, he was a member of the Fabian Society, a group that sought social reform and believed that the best political system was socialism. Wells explored issues of social class and economic disparity in a number of his works, including Kipps (1905). Kipps was one of Wells's favorites of his own work.

Over the years, he wrote several more comedies, including 1916's Mr. Britling Sees It Through. This wildly popular novel looks at a writer living in a small English village before, during and after World War I. Also around this time, Wells again demonstrated his affinity for predictions. He foresaw the splitting of atom and the creation of atomic bombs in The World Set Free (1914).

№25 Creative Activities of J. Galsworthy

The Man of Property (1906) began the novel sequence known as The Forsyte Saga, by which Galsworthy is chiefly remembered; others in the same series are “Indian Summer of a Forsyte” (1918, in Five Tales), In Chancery (1920), Awakening (1920), and To Let (1921). The saga chronicles the lives of three generations of a large, upper middle-class family at the turn of the century. Having recently risen to wealth and success in the profession and business world, the Forsytes are tenaciously clannish and anxious to increase their wealth. The novels imply that their desire for property is morally wrong. The saga intersperses diatribes against wealth with lively passages describing character and background. In The Man of Property, Galsworthy attacks the Forsytes through the character of Soames Forsyte, a solicitor who considers his wife Irene as a mere form of property. Irene finds her husband physically unattractive and falls in love with a young architect who dies. The other two novels of the saga, In Chancery and To Let, trace the subsequent divorce of Soames and Irene, the second marriages they make, and the eventual romantic entanglements of their children. The story of the Forsyte family after World War I was continued in The White Monkey (1924), The Silver Spoon (1926), and Swan Song (1928), collected in A Modern Comedy (1929). Galsworthy’s other novels include The Country House (1907), The Patrician (1911), and The Freelands (1915).

Galsworthy was also a successful dramatist, his plays, written in a naturalistic style, usually examining some controversial ethical or social problem. They include The Silver Box (1906), which, like many of his other works, has a legal theme and depicts a bitter contrast of the law’s treatment of the rich and the poor; Strife (1909), a study of industrial relations; Justice (1910), a realistic portrayal of prison life that roused so much feeling that it led to reform; and Loyalties (1922), the best of his later plays. He also wrote verse.

Galsworthy’s novels, by their abstention from complicated psychology and their greatly simplified social viewpoint, became accepted as faithful patterns of English life for a time. Galsworthy is remembered for this evocation of Victorian and Edwardian upper middle-class life and for his creation of Soames Forsyte, a dislikable character who nevertheless compels the reader’s sympathy.

A television serial of The Forsyte Saga by the British Broadcasting Corporation achieved immense popularity in Great Britain in 1967 and later in many other nations, especially the United States, reviving interest in an author whose reputation had plummeted after his death.

№1 A literary language is the form of a language used in its literary writing. It can be either a non-standard dialect or standardized variety of the language. It can sometimes differ noticeably from the various spoken lects, but difference between literary and non-literary forms is greater in some languages than in others. Where there is a strong divergence between a written form and the spoken vernacular, the language is said to exhibit diglossia.

The understanding of the term differs from one linguistic tradition to another, and is dependent on the terminological conventions adopted. Notably, in Eastern European and Slavic linguistics, the term "literary language" has also been used as a synonym of "standard language".A related concept is liturgical writing, which is the language or form of language used in the liturgy of some religions. or much of its history, there has been a distinction in the English language between an elevated literary language and a colloquial idiom.^[7] After the Norman conquest of England, for instance, Latin and French displaced English as the official and literary languages,^[8] and standardized literary English did not emerge until the end of the Middle Ages.^[9] At this time and into the Renaissance, the practice of aureation (the introduction of terms from classical languages, often through poetry) was an important part of the reclamation of status for the English language, and many historically aureate terms are now part of general common usage. Modern English no longer has quite the same distinction between literary and colloquial registers.^[7]

English has been used as a literary language in countries that were formerly part of the British Empire, for instance in India up to the present day,^[10] Malaysia in the early 20th century^[11] and Nigeria, where English remains the official language.

№2 One of the benefits of using literature in the language classroom is that it enco lised in the interaction between the text and the reader (Wallace, 1992: 39), a reading process which Nuttall describes as -itrecipients of the tea In order to make sense of the text, readers have to ask questions, make predictions, form hypotheses, use their imagination, background knowledge and personal experience until they arrive at a satisfactory interpretation, n the paper remain mere words on paper until a reader actively engages with them as 1983: 46). What is important is not the result of the interpretation but the processes involved in arriving at that interpretation. The ultimate goal is not understanding that particular text, but developing procedures for understanding similar texts that learners may choose to read outside the classroom. As interpretations of texts are influenced by psychological, cognitive, affective and social factors, each reader may arrive at different interpretations (Wallace, 1992: 43), which is a positive thing as it offers opportunities for negotiation and interaction between students. However, students should know that although their interpretations may differ, they should always justify their answer with close reference to the text, The active involvement of the learners in interpreting the text through noticing, inferencing, negotiation.

№3 In the past, some ELT practitioners thought that there is no relation between English literature and English language teaching. They discovered no roles of literary texts for the comprehension of English language. They taught their students about language ignoring the literary texts in the language-teaching classrooms. On the other hand, facilitators of teaching literature thought that English education is only limited in how to teach English in classroom. They never looked for the syntactical and semantic significance of language used in the literary texts like poetry, essay, play, and story. There was a hot debate between them regarding the issues of language and literature in the canteen of colleges. They had had their own interpretation and understanding about the English literature and English education. Their main concern was to highlight their own subjects. There was a situation of rivalry between them. I think the dichotomy between English education and English literature has created by the west that creates two hostile camps between its practitioners in our country. The tendency of western intellectual world regarding the issue of literature and linguistic made us to involve in the quarrel. The separate texts composed by the western intellectuals regarding the linguistic and literature that are prescribed in our syllabus are taught in our classroom as a different discipline. This kind of practices had been functioning in our universities regarding teaching literature and language. The department of language and linguistics never smelled the literary texts in their syllabus. Our curriculum designers were also influenced by the western tendency. So, they designed the curriculum of English language and literature separately. They never tried for meaning and harmonious combination in the curriculum for teaching language and literature hand in hand. Then, the practitioners of teaching language and literature moved ahead parallel like the two sides of a river learning the English language itself from the two extremes. his idea was introduced by scholars in designing syllabus of language teaching classroom. Linguistics became like a hard rock with its own certain structure and values. The curriculum of our subject made us rigid in our area.

№4 Several definitions have been proposed for culture from different perspectives. Among these definitions, the original definition is that offered by Edvard Tylor (1871): Culture… is that complex whole which includes knowledge, beliefs, art, law, morals, custom, and any other capabilities and habits acquired by man as a member of society (Tylor, 1871, p.123). Another definition which is one of the most famous and well-accepted one is the Weberian definition of culture which emphasized the necessity of knitting empirical reality to our network of value ideas if it is going to become part of our culture: The concept of culture is a value concept; empirical reality becomes “culture” to us because and insofar as we relate it to value ideas (cited in Varenne, 2004, p. 3). Based on the above definitions of culture, our main goal in selecting L2 material and designing syllabuses for our EFL students should be familiarizing them with values, beliefs, customs, ideas, and social markers of L2 people in order to help them develop an appropriate level of intercultural competence by looking at L2 from a different angel. In this way, we will manage to open doors to new horizons to our students and help them to digest L2 culture more easily.

After its initial unsuccessful appearance in EFL language classrooms (in GTM), culture and cultural norms needed a really strong theoretical rationale to be given a second chance to appear in EFL language classrooms. Many researchers (e.g. Erkaya, 2005; Byram and Feng, 2004; Gardner and Lambert, 1972) have stated several reasons and justifications for incorporation of culturally-loaded materials, especially in the form of literature. Some of these reasons are as follows: x The inseparable nature of language and culture (Erkaya, 2005, p.1) x Its benefit of offering higher-order thinking (ibid) x Its (integrative) motivational benefits (Gardner and Lambert, 1972, p7; Erkaya, 2005, p. 1) x Developing intercultural competence (Byram and Feng, 2004, p.1) Apart from all the above-mentioned reasons, it seems that one of the most important reasons (if not the most important one) for teaching culture in EFL classroom is that it provides EFL language learners with an opportunity to reconsider their cultural system and appreciate, modify and probably reject and replace it. By developing a kind of critical thinking in EFL learners, it gives the students a chance to compare their L1 culture with L2 culture, that is beside from developing our students intercultural competence, it gives them a kind of “meta-cultural awareness” to develop a dynamic and developmentally ever-changing cultural system.

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№6 The purpose of this article is to provide some guidance through the wealth of available materials and support, to provide a platform for sharing ideas and experiences and to explore some areas that are at the cutting edge of what is, for many teachers, the most powerful instrument in their school bag: literature as a tool for language learning. The use of literature in the ELT classroom is enjoying a revival for a number of reasons. Having formed part of traditional language teaching approaches, literature became less popular when language teaching and learning started to focus on the functional use of language. However, the role of literature in the ELT classroom has been re-assessed and many now view literary texts as providing rich linguistic input, effective stimuli for students to express themselves in other languages and a potential source of learner motivation. On this site you can find a range of literary texts and supporting classroom materials, on the BritLit pages. Literature lessons can lead to public displays of student output through posters of student creations e.g. poems, stories or through performances of plays. So for a variety of linguistic, cultural and personal growth reasons, literary texts can be more motivating than the referential ones often used in classrooms.

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№8 The difference between poetry and short stories is not always clear, especially with the popularity of prose and narrative poetry, as well as micro-fiction. But to establish some differences, short stories usually still follow the five plot points; meanwhile, poetry is not dependent on that and can be presented in a variety of forms, whether it's traditional verse or something contemporary. Poetry must also make complex messages as condensed yet effective as possible, while short stories focus more on building characters and theme. Poetry is a form of writing in verse, which usually has a musical quality obtained through the specific use of literary elements such as meter and rhyme, and literary devices such as alliteration, onomatopoeia, and other vivid forms of imagery. A short story has characters of depth, and a plot that centers, generally, around a conflict of some sort. The two are different in that poems don't have to tell a story and can be about a single brief idea, whereas a short story generally is the exact opposite; but both can convey deep meaning to the audience, often eliciting an emotional response, through the author's careful use of the language as he/she shares a message through writing.

№9 Most plays and movies are enacted as if they are happening in the present. The scripts are almost invariably written in the present tense. Novels and short stories are usually written in the past tense. The first-person or third-person narrator is telling about something that happened in the past and is now all over with. Drama is effective because we see things happening right before our eyes. Novelists have the problem of writing about something that happened it the past but making the reader visualize the characters and events as if he or she is witnessing them in the present. Novelists can use many techniques that are not available to the dramatist. For example, a novelist can tell the reader what the various characters are thinking and can offer all sorts of information in the form of straight prose exposition. The dramatist usually has to have the characters convey information to the audience by talking to each other. We don't even know who these people on the stage are supposed to be until they address one another by their names. Much of the difference between drama and novels is that dramas show what is happening, while novels tell what happened. There are a few exceptions in both cases, no doubt, but they have never had a significant influence on the two different genres. Even when a play or movie attempts to deal with an event that occurred in the past, they have to depict the past as the present; and the script will describe everything in the present tense. Drama also has to be interpreted by actors and a director. The script is only the beginning of the project. Whereas the novelist as well as the short-story writer can handle the entire story alone.

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The origin of English drama seems vague. There is no certain evidence proving its origin. However, it can be traced back from century of succeeding Norman Conquest to England on 1066. Many historians believe that drama came to England along with them. There was information that when the Roman where in England, they established vast amphitheatre for production some plays, but when they left, the theatre gone with them

Originally, the term drama came from Greek word meaning “ action ” or “ to act ” or “ to do ”. William J. Long argues that “ drama is an old story told in the eye, a story put into action by living performers ”. Thus, drama is the form of composition design for performance in the theatre, in which the actors take role for certain characters, perform certain action and utter certain dialogues (Abrams and Harpham, 2015:95).

In England, drama had a distinctly religious origin from the church as the part of services. Apart from its origin, the Latin Church had condemned Roman theatre for many reasons. Thus, drama could not develop until tenth century when the church began to use dramatic elements as part of their services in the certain festival or ritual. The motives of the church began to use dramatics elements seem unclear. But, it was certain that the purpose was didactic, that is, to give deep understanding about the truth of their religion to the believer.

The oldest existing church drama was “Quem Quarritis” trope (whom are you seeking), when the three Marrys visited the empty tomb of Christ and met angel. Their conversation with angel consists of four sentences in Latin then adapted and performed by the clergy in very simple performance. This simple beginning gradually grew more elaborate. This drama called liturgical drama, in which the story simply taken from the scripture. The earlier play were given inside the church, the story were written by the clergy and performed by the clergy using Latin language. However, drama were not performed in all churches, only in certain cathedrals and monasteries where there were enough clergy to perform the plays.

№11 Literacy is not something that just happens. One does not wake up literate nor does one become literate in the same way that one learns to walk. It is not intuited from the environment nor is it simply a matter of physical maturation. Literacy learning requires instruction and practice, and this learning occurs across discrete stages. The following notes explore the five stages of reading development as proposed by Maryanne Wolf (2008) in her book Proust and the squid: the story and science of the reading brain. These five stages are:

the emerging pre-reader (typically between 6 months to 6 years old);
the novice reader (typically between 6 to 7 years old);
the decoding reader (typically between 7 - 9 years old);
the fluent, comprehending reader (typically between 9 - 15 years old); and
the expert reader (typically from 16 years and older).

Please explore, and also visit the Stages of Literacy Development page for a more detailed discussion. Before we begin with the stages, there are two preliminary notes to make.

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Literature, as an important component of humanities, is a very popular subject which reflects human culture, knowledge and wisdom. Literature is an art, an art of language, more than just an entertainment, so it has a very close relation with language and linguistics. As everybody knows, it is an important embodiment of the language in which it is presented. That’s why it is endowed with a worthwhile role in language teaching, esp. in the EFL classroom. In many countries today, literature has been taken as a compulsory subject, an indispensible component of modern liberal arts, which occupies a seat among school curriculums. The implementation of the reform and opening-up policy entailed the wide communication and cooperation between different countries and regions with various cultural backgrounds, which made it necessary for Chinese people to have a good command of foreign language, particularly English, which is regarded as the global language for its special position and role in the world. In this new atmosphere where international communication is a lot more popular and frequent, much importance is attached to English learning and teaching; in the meanwhile, as an indispensible part and means of English teaching, literature gains its deserved place. Nowadays every university has literature curriculum and every student has the chance to experience and appreciate English literature in their learning of English at college. However, comparatively literature teaching in China is a weak area and there is a conspicuous lack of experience and skills in this field. Despite the problems and defects, a lot of progress has been made since. This article is intended to define the role of literature teaching, discuss its significance, illustrate its characteristics in the EFL context, analyze the current situation, clarify the problems and explore the feasible strategies in order that it can help teachers elevate the quality in their teaching, and learners the efficiency in their learning.

№13 In this lesson, we will learn what a plot diagram is and how it is used to analyze a story. A plot diagram helps the reader better understand the story by using an in-depth analysis. A plot analysis uses the plot diagram to ask and answer questions about the plot of a story. Analyzing the story using the diagram and the accompanying questions helps the reader to better understand the story. See the following diagram and accompanying questions: A plot diagram is a tool that is commonly used to organize a story into specific parts. Once the parts of the plot diagram are identified, it is easier to analyze the content. A plot diagram also gives a common framework for analyzing and understanding written prose.

A plot analysis uses the plot diagram to ask and answer questions about the plot of a story. Analyzing the story using the diagram and the accompanying questions helps the reader to better understand the story. See the following diagram and accompanying questions:

The exposition or the introduction gives background information about the main characters, establishes the setting, and states the problem in the story.

The rising action is where the tension or suspense builds and the problem becomes more complicated. There is often more than one step in this part of the plot analysis. When analyzing a piece of writing, the inciting incident is often the final part in the rising action that happens just before the climax. It is the event that forces the main character or characters into action.

The conflict in the story is often introduced in the exposition but is given more detail throughout the rising action.

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3. «Әдебиетті оқытудың әдістемесі»

The peculiarities of literary language

The advantages of using literary text in the language classroom

Literary text as a valuable authentic material.

Using literary text for cultural enrichment

Using literary text for personal development.

The problems of using literature in the classroom

The selection of an appropriate type of literature

Short stories and poems

Plays and novels