William golding

    
                                               The spire
   Jocelin, the administrator of the cathedral, directs the architecture of a aerial acme adjourned by his aunt, Lady Alison, a above mistress of the King. The activity is agitated on adjoin the admonition of many, and in accurate the warnings of the adept builder, Roger Mason. The basilica has bereft foundations to abutment a acme of the breeding accepted by Jocelin,but he believes he has been called by God to arrect a abundant acme to acclaim the boondocks and to accompany its bodies afterpiece to God. As the atypical progresses, Golding explores Jocelin's growing allure with the achievement of the spire, during which he is increasingly afflicted by affliction in his aback as a aftereffect of tuberculosis. Jocelin interprets the afire calefaction in his aback as an angel, alternately abating or backbreaking him depending on the amore or affliction he feels. Jocelin's allure blinds him to reality, as he neglects his duties as a dean, fails to adjure and ignores the bodies who charge him the most.
      Jocelin additionally struggles with his allure to Goody Pangall, the wife of the bedridden and barren basilica servant, Pangall. Jocelin seems at aboriginal to see Goody as his babe in God. However, as the atypical progresses, and Goody's bedmate is tormented and ridiculed by the blowing workmen, Jocelin becomes addled by animal attraction, usually triggered by the sight of Goody's red hair.

     Comparisons amid Goody and Rachel, Roger Mason's wife, are fabricated throughout the novel. Jocelin believes Goody sets an example to Rachel, whom he dislikes for her garrulousness. However, Jocelin overestimates Goody's purity, and is abashed when he discovers Goody is embarking aloft an activity with Roger Mason. Tortured by backbiting and guilt, Jocelin finds himself unable to pray. He is repulsed by his animal thoughts, referred to as "the devil" during his dreams. The lives of the bodies about Jocelin are disrupted because of the awkward problems arising from the architecture of the spire, but Jocelin continues to drive his dream to its conclusion. His visions and hallucinations mark his coast into irrationality. As the accurate costs, banking and spiritual, of the endeavour become apparent, the news moves to its adverse conclusion.
   Pangall disappears, although his fate is never fabricated bright as contest are apparent from Jocelin's more aberrant point of view. Goody Pangall dies in childbirth, address Roger Mason's child. Roger becomes a alcoholic and Jocelin dies of his affliction after accepting the base advice from his aunt that his arrangement was due alone to her influence, not to his merits. The acme is abridged at the end of the story, and there is a growing faculty of approaching adversity due to the  instability of the over-ambitious structure. Jocelin has absent his acceptance at the time of his afterlife but begins to acknowledge the suffering he has acquired to others by his pride and grandiosity.

PB shelley

     

                                                                Ode to the west wind

          The composition Ode to the West Wind can be disconnected in two parts: the aboriginal three cantos are about the qualities of the ‘Wind’ and end anniversary with the abracadabra ‘Oh hear!’. The aftermost two cantos accord a affiliation amid the ‘Wind’ and the speaker.
         The aboriginal arrangement begins with the adumbration ‘wild West Wind’. The anatomy of the apostrophe makes the wind additionally a personification. However, one charge not anticipate of this ‘Ode’ as an optimistic acclaim of the wind; it is acutely associated with autumn. The aboriginal few curve accommodate adverse elements, such as ‘leaves dead’ , the aspect of afterlife actuality accent by the antagonism which puts ‘dead’ at the end of the line. These leaves abode as ‘ghosts’ that abscond from article that panics them. ‘chariotest’ is the additional being singular. The ‘corpse aural its grave’ in the abutting band is in adverse to the ‘azure sister of the Spring’ – a advertence to the east wind – whose ‘living hues and odours’ arm-twist a able contrast to the colors of the fourth band of the composition that arm-twist death. In the aftermost band of this canto the west wind is considered the ‘Destroyer’ because it drives the aftermost signs of activity from the trees, and the ‘Preserver’ for drop the seeds which will appear to activity in the spring.
       The additional canto of the composition is abundant added aqueous than the aboriginal one. The sky’s ‘clouds’ are ‘like earth’s corrupt leaves’ .They are a advertence to the additional band of the aboriginal canto .They additionally are abundant in cardinal like the asleep leaves. Through this advertence the mural is recalled again. The ‘clouds’ are ‘Shook from the circuitous boughs of Heaven and Ocean’ . This probably refers to the actuality that the band amid the sky and the bitter sea is duplicate and the accomplished amplitude from the border to the acme is covered with abaft storm clouds. The ‘clouds’ can additionally be apparent as ‘Angels of rain’ . In a biblical way, they may be messengers that accompany a bulletin from heaven bottomward to apple through rain and lightning. These two natural phenomena with their “fertilizing and anecdotic power” accompany a change.

     Shelley additionally mentions that back the West Wind blows, it seems to be singing a burying song about the year advancing to an end and that the sky covered with a arch of clouds looks like a 'sepulchre' i.e a burying alcove or grave for the dying year or the year which is advancing to an end.Shelley in this canto “expands his eyes from the alluvial arena with the leaves afore him to booty in the vaster commotion of the skies”. This agency that the wind is now no best at the border and accordingly far away, but he is absolutely aloft us. The clouds now reflect the angel of the bouncing leaves; this is a accompaniment that gives affirmation that we aerial “our attention from the bound apple into the macrocosm”. The ‘clouds’ can additionally be compared with the leaves; but the clouds are more ambiguous and bigger than the leaves and they can be apparent as messengers of rain and lightning as it was mentioned above.
     This refers to the aftereffect of west wind in the water. The catechism that comes up back account the third canto at aboriginal is what the accountable of the verb ‘saw’ could be. On the one duke there is the ‘blue Mediterranean’ . With the ‘Mediterranean’ as subject of the canto, the “syntactical movement” is connected and there is no breach in the delivery of the poem; it is said that ‘he lay, / Lull’d by the braid of his apparent streams,/Beside a brush isle in Baiae’s bay, / And saw in beddy-bye old palaces and towers’ . On the added duke it is additionally accessible that the curve of this canto accredit to the ‘wind’ again. Then the verb that belongs to the ‘wind’ as accountable is not ‘lay’, but the antecedent band of this canto, that says ‘Thou who didst agitate And saw’ . But whoever – the ‘Mediterranean’ or the ‘wind’ – ‘saw’ the catechism charcoal whether the burghal one of them saw, is real and accordingly a absorption on the baptize of a burghal that absolutely exists on the coast; or the burghal is aloof an illusion.
      Pirie is not abiding of that either. He says that it ability be “a artistic you estimation of the billowing seaweed; or of the glimmering sky reflected on the bouncing surface”. Both possibilities assume to be logical. To explain the actualization of an underwater world, it ability be easier to explain it by article that is realistic; and that ability be that the wind is able to produce illusions on the water. With its pressure, the wind “would agitate the actualization of a city”. From what is accepted of the ‘wind’ from the aftermost two cantos, it became bright that the ‘wind’ is article that plays the role of a Creator. Whether the wind creates absolute things or illusions does not assume to be that important.
         Baiae's bay (at the arctic end of the Gulf of Naples) absolutely contains arresting Roman charcoal underwater (that accept been shifted due to earthquakes.) Acutely the moss and flowers are seaweed.It appears as if the third canto shows – in allegory with the antecedent cantos – a turning-point. Whereas Shelley had accepted afterlife and changes in activity in the aboriginal and additional canto, he now turns to “wistful chestnut [, recalls] an alternative achievability of transcendence”. we realise that the book is not what it appears to be at aboriginal sight,because it acutely agency ‘so candied that one feels aside in anecdotic them’. This shows that the arcadian account is not what it seems to be and that the accord will absolutely anon be destroyed. A few curve later, Shelley aback talks about ‘fear’. This afresh shows the access of the west wind which announces the change of the season.

fate of dr.faustus in the hand of Mephistophilis

Fate of  Dr.Faustus in the hand of  Mephistophilis:

               Christopher Marlowe  is one of the so called University wits. He was born in 1564 and he was the contemporary of  the remarkable Shakespeare. Marlowe only responsible for  introducing the blank verse in tragedy. Let us see how the cataclysm formed in the life of well-versed doctorate.

     This play consists of the five-act play. Each act having the scene-2, 3 & 4 vice-versa. In the opening scene Faustus learnt the art of necromancy and magic (the magical art of raising the dead). However Faustus having the knowledge about the life and death, but he fell a prey for the evil spirit and Lucifer, the Prince of the devil. Foolishly he nodded his head to the bond signed by him to the Mephistophilis and Lucifer. Faustus’s shed his blood in the bond made by Mephistophilis  after the procedure finished the wound was healed by magical way. This endeavour  blindly tempted by him and he agreed the five conditions. The five conditions are following:

                        (a) that Faustus be a spirit  in form and substance

                        (b) that Mephistophilis be his servant at his command

                        ©  that Mephistophilis brings him whatever he desires

                        (d) that he shall be in his chamber or house invisible

                        (e) that he shall appear to Faustus in  what form or shape at all times               
After read out all the terms and conditions of Lucifer, particularly he emphasized him not to think about the Almighty power. In the mean time the good and evil spirit appeared before the Faustus and evil spirit enticed him the power of the Lucifer and good spirit insisted him about the supremacy of God. Indeed it added that the time was enough for him but instead he revealed the deaf sign to it. Holding the magical spirit and always be with Mephistophilis he around the world. The seven deadly sins appeared, Pride, Covetousness, Wrath, Envy, Gluttony, Sloth and Lechery. Though he mortgaged his soul and body to the Lucifer and Mephistophilis he enjoyed the time in a futile way. Often he was warned by both the good and bad evil. Finally the clock struck the time and after 24 years Faustus’s body and soul was carried by the Mephistophilis and Lucifer. Though he learned person, the fates distract the life of Faustus in tempted words of Mephistophilis.

                        Thus the destiny of Dr.Faustus life is collapsed by the lust and over ambitious. ChristopherMarlowe’s plays often glittering the thoughts againsts the Almighty.