LUQMAN KAKAR: ...

LUQMAN KAKAR:                                                   ...:                                                                   The Name of the Rose                                                ...

                  

                                             The Name of the Rose                                    

                                                                                           UMBERTO ECO

          The Name of the Rose is one of the best novels intended to know about most of the postmodernist aspects. There are various elements which could be claimed as the postmodern elements. Some of these could be vividly observed as Faction, Pastiches, Collage, Open ending, Magical Realism, Intertexuality, Ambivalence, Reader involvement, Fragmentation of truth, Magical Realism, Minimalism, Minimalism, Historiographic  metafiction Postmodern Medievalism" and "Postmodern Millennialism etc. As Umberto Eco’s The Name of the Rose. Although the work seems as a murder mystery. There is more accurately seen as a questioning of the meaning of “truth” from theological, philosophical, scholarly, and historical perspectives. In 1980, Umberto Eco published his novel The Name of the Rose, where he implemented, on many occasions, the postmodernist technique of double-coding, addressing the text to audiences of very diverse types of perception and comprehension. Hence Eco has used many postmodern techniques some these are as follows:

Historiographic Metafiction:

Linda Hutcheon coined the term "historiographic metafiction" to refer to works that fictionalize actual historical events or figures; notable examples include, deals with the Victorian Period in The French Lieutenant's Woman. In regards to critical theory, this technique can be related to The Death of the Author by Roland Barthes. And the General in His Labyrinth by Gabriel García Márquez about Simón Bolívar. For example the novel has been written in 1980. While it talks the story which has been taken place in 1327 in Italy. . For some readers, it’s merely a detective story similar to Conan Doyle’s series about Holmes and Watson, but set in a fourteenth century monastery, for others a narrative full of unique historical details creating a picture of a particular era, or even a contemplation about the differences between a Medieval and a contemporary individual, the relationship and interdependence of religion and literature, about their roles in culture, and other philosophical issues. For instance,

  “The only sure thing was that the girl would be burned.                                         And I felt responsible, because it was as if she would                                                                            also expiate on the pyre the sin I had committed with her”

 I burst shamefully into sobs and fled to my cell, where all through the night I chewed my pallet and moaned helplessly, for I was not even allowed—as they did in the romances of chivalry I had read with my companions at Melk—to lament and call out the beloved’s name.”

Open ending:

With a narrative apparatus as complex as it is beautiful, Eco’s work gives the reader both a clear defense of semiotics and an intricate detective story. Both facets are framed by an unfinished story, the narrative of a scholar who finds an interesting tale within a number of manuscripts. Perhaps because the space this framing story is given is so slight compared with the density of what is to follow or perhaps because of the tone of the scholar, these first few pages remain with the reader as the text goes back to the source of the manuscripts in the early 14th century. For example, as Adso of Melk says:

“Mine was a poor harvest, but I spent a whole day reaping it, as if from those dissecta membra of the library a message might reach me. […] At the end of my patient reconstruction, I had before me a kind of lesser library a symbol of the greater, vanished one: a library made up of fragments, quotations, unfinished sentences, amputated stumps of books.”

            

                                Magical Realism

     Magical realism combines realism and the fantasy in such a way that magical elements grow organically out of the reality portrayed” and, through its use of both real and mystical elements, the genre fragments the world in a blatantly postmodern sense. For example when William of Baskerville says that:

“The divine plan will one day encompass the science of machines, which is natural and healthy magic. […] Unheard-of machines are possible. But you must not worry if they do not exist, because that does not mean they will not exist later.”

 It means that William is skeptical about whether some truths can ever be known. He used to work for the Inquisition, prosecuting heretics, but became disillusioned because he found the church’s regime too harsh and was never sure whether the confessions he elicited were true or not. At the same time, however, he hungers for knowledge and longs to uncover the causes of things. He is preoccupied by the relationship between signs and their meanings, which makes him an ideal detective, able to look at the physical evidence he sees in the world and devise plausible explanations. For example, immediately upon his arrival at the abbey, he deduces the location of the abbot’s lost horse based only on the evidence of footprints in the snow and a few broken twigs. William is intellectually brilliant, but also compassionate and sensitive, his tolerance for human fallibility standing in stark contrast to the hypocrisy and judgment of the clergy. Such condition argued the text pretty much a postmodern entity.

                                                  Intertextuality

A term coined by Julia Kristeva in 1966 to denote the interdependence of literary texts, the interdependence of any one literary test with all has gone before it. It means that it is the acknowledgement of previous literary works. Postmodernism recognizes the value of tradition. It understands present culture as the product of previous representation. The intertextuality of postmodern fiction, the dependence on literature that has been created earlier, attempts to comment on the situation in which both literature and society found themselves in the second half of the twentieth century. It can be vivdly observed in intratext of U. Eco and Pheripery texts. For instance Eco’s Baudolino novel in which Magical realism meets historical fiction as it is in The Name Of The Rose. As in Baudolino at the end, Niketas reflects to his friend:

 “It was a beautiful story. Too bad no one will find out about it.” To which his friend replies, “You surely don’t believe you’re the only writer of stories in this world. Sooner or later, someone – a greater liar than Baudolino – will tell it.”

Similar themes can be observed in Johan Fowles’ “The French Lieutenant’s Woman”, Jean Rhys’ Wide Sargasso sea and Don Dellilo’s The White Noise.

Postmodern Medievalism" and "Postmodern Millenialism

This is bit unique technique which one can feel more vividly in in The Name of the Rose in which the character William of Baskerville is a postmodern thinker, an allegory of modernism emergine out of the earlier matrix of medieval culture. The Name of the Rose, then, could be explored as a work by a postmodern author, allegorizing the emergence of the "modern" during the Middle Ages. For example:

“Michael of Cesena […] proclaimed as a matter of faith and doctrine the poverty of Christ. A worth resolution, meant to safeguard the virtue and purity of the order, it highly displeased the Pope, who perhaps discerned in it a principle that would jeopardize the very claims that he, as head of the church, had made, denying the empire the right to elect bishops, and asserting on the contrary that the papal throne had the right to invest the emperor.”                          

Reader Involvement

In which there is often through direct address to the reader and the open acknowledgment of the fictional nature of the events being described. But the case is bit different regards his novel. For example:

“The good of a book lies in its being read. A book is made up of signs that speak of other signs, which in their turn speak of things. Without an eye to read them, a book contains signs that produce no concepts; therefore it is dumb. This library was perhaps born to save the books it houses, but now it lives to bury them.” 

Ambivalence:

In Lyotard's philosophy, the postmodern is ambivalent in three main ways. First, it is ambivalent insofar as its products bring us both good and evil; the technology of nuclear power is not possible without that of nuclear bombs. Secondly, it is ambivalent insofar as Lyotard understands the word `postmodern' to apply to the whole range of contemporary culture, from everyday social life to science and art. Thirdly, the term seems ambivalent in the sense of confusion. Prefix "post" in a way different from the way it is usually used. He insists that `postmodern' signifies not the end of modernism"; it is a type of new thinking in relation to modernism. Such as William is skeptical about whether some truths can ever be known. He used to work for the Inquisition, prosecuting heretics, but became disillusioned because he found the church’s regime too harsh and was never sure whether the confessions he elicited were true or not. At the same time, however, he hungers for knowledge and longs to uncover the causes of things. He is preoccupied by the relationship between signs and their meanings, which makes him an ideal detective, able to look at the physical evidence he sees in the world and devise plausible explanations. For example, immediately upon his arrival at the abbey, he deduces the location of the abbot’s lost horse based only on the evidence of footprints in the snow and a few broken twigs. William is intellectually brilliant, but also compassionate and sensitive, his tolerance for human fallibility standing in stark contrast to the hypocrisy and judgment of the clergy. William brings Adso to the abbey to attend a theological disputation on the conflict between the Holy Roman Emperor and the pope, but his astonishing powers of deduction and logical reasoning are soon called into a very different kind of service: solving murders. Although William comes up with various ingenious explanations, he ultimately fails to protect the abbey, its monks, and its invaluable library from the murderous Jorge of Burgos. Adso reports that William died soon after the fire, in an outbreak of the Black Death. 

“The spirit is serene only when it contemplates the truth and takes delight in good achieved, and truth and good are not to be laughed at. That is why Christ did not laugh. Laughter foments doubt.”

“But sometimes it is right to doubt.”

“I cannot see any reason. When you are in doubt, you must turn to an authority, to the words of a father or of a doctor; then all reason for doubt ceases.”

         

              

                                                 

       Conclusion

            All in all, Umberto Eco’s “the name of the rose” is one of the best portrayal of the Postmodernism. Because Eco is well known for his creative blends of historical facts and endless imagination. Where most times it is quite difficult to separate the true events from the magical twists he give them. He is also well versed in placing stories inside of other stories and binding mysteries that can only be pieced together by him as is done in The Name of the rose. Eco alludes to various works, places and occurrences throughout his novel, most ancient books and places visited by Eco. Such as Saint Michael’s Abbey, Sussa valley and even a return to himself. Moreover, The name of the rose could be considered as one of the best practical intended to about  Jean Baudrillrad “ Simulacra and Simulation”, Francoi Lyotard “the postmodern condition, Frederic Jameson “ The cultural Logic of late capitalism”,” Postmodernism and consumer society”, Linda Huchen theorizing the postmodernism, Giles Drlauze and Guttari ideas can be apt to be observed in Umberto Eco’s “the name of the rose”.

All in all, this novel I felt as more lisible rather scriptable but still it is considered to be the Postmodern novel which is absolutely apt to argue.

……………………………………………………………………………………………………                                                   

                                                            Refrences

Hutcheon, Linda. A Poetics of Postmodernism: History, Theory, Fiction. New York, 2004.

Allan, Graham. Intertextuality: the New Critical Idiom. London and New York: Routledge.

Dr Sibghatullah Lectures and Sir Farrukh Nadeem Lectures.

Jean Baudrillrad “ Simulacra and Simulation”,

Francoi Lyotard “the postmodern condition,

 Frederic Jameson “ The cultural Logic of late capitalism”,” Postmodernism and consumer society” and

Self – reflection.

LUQMAN KAKAR: Dying is fateDying is fate to every ta...

LUQMAN KAKAR:            Dying is fate
Dying is fate to every ta...:            Dying is fate Dying is fate to every taking breath As Oxygen and water to living hood But before I die I’d ask to know ...

           Dying is fate

Dying is fate to every taking breath

As Oxygen and water to living hood

But before I die I’d ask to know

What I was wiling in or willing out

Generations lost, legends lost, and stories faded

And philosophies of majesty tired to answer

When I see the dazzling exterior of west

As it pleases every soul, persuading

Every young, produces consumers

As a bee produces honey

Must have some thing lofty, sublime and heart phobic

The East is full of futile passion

Lost their charm, As a partial

Plucked flower among the

Fully flourished field of flowers

Something went wrong, something

Reminds right, such suspicion where,

Horrors of past, confusion of present, and

Fear of the future becomes man

Guest for long time, as lethal diseases to a patient.

                                                                                                                                MLKKK

                                                                                                                                April 6, 2019

LUQMAN KAKAR: Younged Soon soon comi...

LUQMAN KAKAR:                            Younged 
Soon soon comi...:                            Younged  Soon soon coming soon the ultimate reality Each other will experience that will Soon youth will eng...

LUQMAN KAKAR: Present is presentDo not too mu...

LUQMAN KAKAR:                  Present is present

Do not too mu...:                  Present is present Do not too much think of the Past Because it will wickedly engulf your Present- Present is the solel...

LUQMAN KAKAR: AFTER T...

LUQMAN KAKAR:                                            AFTER T...:                                            AFTER THE DELUGE                                Th simple is obscured, the complex     ...

LUQMAN KAKAR: Younaged Soon rapidly com...

LUQMAN KAKAR:  
                    Younaged

Soon rapidly com...:                       Younaged Soon rapidly coming rashly the ultimate reality Each other will experience that will Soon youth...

LUQMAN KAKAR: Heart in mean timeI felt myheart moun...

LUQMAN KAKAR:             Heart in mean time
I felt myheart moun...:             Heart in mean time I felt my heart mounting so old in real time Like an Archive word in modern Rhyme Like a gipsy  ent...

            Heart in mean time

I felt my heart mounting so old in real time

Like an Archive word in modern Rhyme

Like a gipsy entered metropolitan city-

One is very rare, odd and undetermined

Whole world left it alone, as dead buried to grave

As a young tin legs stag around the pride of lion-

The god of small things do not console it in mean time

Every step, every sight and every breath becoming unreal-

No console of close friends, even in such miserable mean time

I felt my heart beating so cold, so fragile and so friable-

As desire_ desire destiny in such crucial and mean time.

                                                                                M. Luqman Kakar

 

                    Younaged

Soon rapidly coming rashly the ultimate reality
Each other will experience that will
Soon youth will engulf by old age_
Soon old age will alter with death

Soon quickly going hastily the ultimate
Beauty
Each other will decay that red cheeks
Soon black will oppressed  by white and gray_
Soon bold voice will replace with low pitches

Soon swiftly moving hurriedly the ultimate spirit
Each other will pay that what you borrowed
Soon it will returned by escaping the breath last _

Soon rapid sharp edges will turned into faded.

(In Response to Life Mortality)
                                                MLKKK

Essay:

          How linguistics may help in the interpretation of literary analysis of the     poem

           

“The Hollow Men” by T.S. Eliot

•                                      Introduction
•                                     Linguistics assistance in the interpretation of literary analysis of the poem
•                                     Regularities/ Parallelism
•                                      Irregularities/Deviation
•                               nn   Conclusion

Introduction

T. S. Eliot’s “Hallow Men” is one of the best example in which the linguistics elements assists greatly intended to get the better understanding of literary analysis. As we know that Stylistics help in the interpretation of literary analysis through Foregrounding (Regularities/Parallelism and Irregularities/Deviation). Hence, there are four levels of stylistic analysis regarding “The Hollow Men”:

a.     Graphology,

b.     Morphology,

c.      Phonology, and

d.     Lexicosyntax

          The elements under each level have been described below. The elements included in Graphological level are: Punctuation the marks used in writing to divide sentences and phrases are said to be punctuation marks. Foregrounding This device is used to highlight something in order to emphasize or get the reader’s attention. The elements included in Phonological level are: Rhyme as the rhyme is consisted in the identification of rhyming words of the last stressed vowel and of all the speech sounds following that vowel. Alliteration It deals with the repetition of the consonant sounds at the beginning of the words. Consonance It concerns with the repetition of the consonant sounds either at the middle or at the end of the words. Assonance The repetition of the vowels sounds is called assonance and Onomatopoeia.

         The elements included in morphological level are: Compounding, Affixation, Suffix, Prefix, Coinages, Ellipsis, Anaphora, and Oxymoron.

 The poem has been analyzed by the following levels of analysis:

Graphological Devices Bold Print The title of the poem is written in bold to show the effectiveness of the title in the poem. Spacing The poem is written in 5 sections and each section has divided into unrhymed stanzas. Repetition The word “men” is repeated 5 times, “kingdom” 9 times, “world” thrice, “ends” thrice, “hollow” thrice, and “stuffed” twice in the poem. The repetition of these words shows the shallowness in the poem that nothing is there left behind in the universe after world wars.

Punctuation Marks Full-stop (.) 8 full-stops are used in the poem.

Comma ( , ) There is the usage of 11 commas. Semi-colon ( ; ) Semi-colon is used once in the whole poem. Colon ( : ) Colon too like semi-colon is used once in the poem. Exclamation marks ( ! ) Exclamation mark is used once only in 1st part of the poem. Apostrophe ( ‘ ) Apostrophe is observed 4 times in the phrases given bellow:

“Rat’ feet”, “Rat’s coat”, “death’s other kingdom”, and “death’s twilight kingdom”.

Dash (--) Dashes are followed three times in this poem. Phonological Devices Rhyme There is no rhyme pattern in the poem.

Alliteration The Alliterated sounds include: /v/, /h/, /m/, /s/, /t/, /l/, /f/, /d/, /k/, /g/.

Consonance The Consonantal sounds comprise: /n/, /v/, /r/, /d/, /s/, /t/, /m/. Assonance The Assonant sounds consist on: /æ/, /a:/, /i/, /e/, /i:/, /a/, /ai/, /au etc. Onomatopoeia “prickly pear” Phonological devices are used to increase the musicality in the poem.

          Morphological Devices consists of Coinages “Paralyzed” is used as a coinage for a specific context to show the creative power of the poet and the emptiness of the world. This is used as an adjective while this cannot be used as an adjective. Affixation Suffix There is the usage of suffix in the words such as:

 “creation” – create+ ion

“falls” – fall+ s

“souls” – soul+ s

 “filled” – fill+ ed

Prefix

  It includes the following words such as:

 “unless” – un+ less and

 “reappear” – re+ appear

Compounding “sunlight”, “meaningless”, “headpiece” and “sightless” are used as compounding.

Lexico- syntactic Devices Paradox

“We are the hollow men

 We are the stuffed men”

 “Gathered on this beach of the tumid river

 Sightless, unless…”

 “We grope together/

Antonym “Hollow men” and “stuffed men”, “bang” and “whimper”, “voices” and “whisper”, “fade” and “distance”, “idea” and “reality”, “conception” and “creation”, “essence” and “descent”

 Oxymoron “Not with a bang but a whimper” “Shape without form, shade without colour, paralysed force, gesture without motion;”

 Litotes “Headpiece filled with straw Alas! / Our dried voices…”“…quiet and meaningless/ As wind in dry grass”.

Metaphor “Headpiece filled with straw” “There, the eyes are/ Sunlight on a broken column” “This is the dead land/ this is cactus land” “In this valley of dying stars/ in this hollow valley”.

Ellipses The words or phrases in parenthesis should be there to complete the sentences. (We are…) “Leaning together” (We are…) “Headpiece filled with straw…” (Our dried voices, when/We whisper together/Are quiet and meaningless…).

Shade without color, (rats’ feet over broken glass/In our dry cellar …ellipsis)

Paralyzed force, ( rats' feet over broken glass /In our dry cellar … ellipsis)

Parallelism “We are the hollow men/ We are the stuffed men” “Here we go round the prickly pear/ Prickly pear prickly pear/ Here we go round the prickly pear” “Between the idea/ And the reality/ Between the motion/ And the act/ Falls the Shadow” and parallel with “Between the conception/ And the creation/ Between the emotion/ And the response/ Falls the Shadow”.

“For Thine is…”, “For Thine is” and “For Thine is” are parallel to each other.

 “This is the way the world ends/ This is the way the world ends/ This is the way the world ends”

Parts of speech Adjectives “hollow”, “stuffed”, “dried”, “dry”, ”broken”, “direct”, “violent”, “fading”, “ deliberate”, “crossed”, “twilight”, “dead”, “ cactus”, “stone”, “Multifoliate” , “dying”, “perpetual”, “empty”. Prepositions Prepositions like: “at”, “in”, “of”, “on”, “to”, “it” and “with” are used in this poem.

  Moreover, Irregularities or Deviation is one of the most important aspects of Foregrounding and interpretations. These consists of Archaism, Obsolete words, Obsolete grammatical features ( it contains II-person pronouns= (Ye, Thou), Verbal endings = (e, st, e , th), Old negative and interrogative form without Auxiliary “ I know not”…, Functions of Archaism ( Grand, Middle, and the plain style), Routine licenses( Lexis(Aphesis, syncope, apocopy) and Texis=hyperbaton). The escape from banality, two meaning of creativity, and degrees of linguistic Audacity (Creative licences), Varieties of poetic licences:

          Realization

          Form

          Semantics

Meaning and significance:

          Beside these, there are Lexical deviation, grammatical deviation, Syntactic deviation, Graphalogical deviation, Phonological deviation, and Deviation of Dialect, Deviation of Registers and Deviation of Historical periods.

Patterns of Irregularity in “The Hollow Men”

Semantic Deviations: The researchers find an example of semantic deviation in line:

 “Or rat’s feet over broken glass”

              Apparently irrelevant and insignificant use of this clause adds confusion to potential interpretation of the reader. This ambiguity is produced due to change of register: instead of normal poetic register. This is an account of an extremely personal strange style of the writer.

Semantic deviation is noticed in these lines:

The eyes are not here

There are no eyes here

In this valley of dying stars

In this hollow valley

This broken jaw of our lost kingdoms

The adverb of place „there‟ in line is a deictic item used for „far‟. „There‟ is used within the same clause with another adverb of place „here‟, quite opposite in meaning as it is used for a near reference. The “eyes “mentioned as such are near and far simultaneously. Probably one could not find more semantic deviations in rest of the poem.

Graphological Deviations

Lines 29 and 30 together make a complete sentence. Here in line 30 graph logical deviation at the level of punctuation is noticed as the sentence boundary marker is absent:

Let me be no nearer

In death’s dream kingdom

Let me also wear

Such deliberate disguises

Rat’s coat, crow skin, crossed staves

Similarly at the end of line 32 a punctuation mark, colon (: ) is deliberately omitted by the poet. Again, in line 36 a dash (-) conveys the continuity of the theme of deliberate disguise‟ of line 32. The absence of sentence boundary marker at the end of line 38 is the extension of the message conveyed by dash (-) in line 36. These graphological deviations are not without purpose.

The absence of full stop (.) in line 30 intensifies the continuity of the theme of no nearness, no directedness in twilight kingdom. The omission of colon (: ) after deliberate disguise‟ promotes the fear of the ultimate vision.

The opening lines of Section III are graphologically deviant:

“This is the dead land

This is cactus land”

These syntactically and verbally parallel lines are without sentence boundary markers. Both the lines have simple sentence structure of SVC, hence complete and independent clauses. This absence of the full stops alludes to the absence of a proper spiritual system in this world where the stone images (line 41) and broken stone‟ (line 51) are connected with idolatrous worship.

Lines 45 – 49 show graphological foregrounding:

“Is it like this

In death’s other kingdom

Waking alone

At the hour when we are

      The deliberate omission of colon (:) at the end of line 46 sharpens the theme of unreflecting love and care. It intensifies the sense of loneliness, void, emptiness and despair exactly at the moments of extreme desire Consider the lines:

“The eyes are not here

There are no eyes here

In this valley of dying stars”

In this hollow valley and the last four lines of The Hollow Men seem graph logically deviant:

This is the way the world ends

This is the way the world ends

This is the way the world end

Not with a bang but with a whisper.

First three lines have the same syntactic structure: SVCOV. These are three sentences. Each sentence has two clauses: first clause (This is the way) while shifting its rank here can be considered Adverbial, as it answers the question, how the world ends?  These lines are graphologically deviant also. First two sentences are without sentence boundary markers and the third sentence has a colon (:) absent at the end of line 97. These graphological deviations refer to the free writing way of the writer where he combines different linguistic materials from different textual sources, all in a collage style.  

Moreover, there is not any vivid Archaism, Obsolete words, Obsolete grammatical features, Verbal endings, Old negative and interrogative form without Auxiliary “ I know not”…, Functions of Archaism ( Grand, Middle, and the plain style), Routine licenses Lexis and Taxis. The escape from banality, two meaning of creativity, and degrees of linguistic Audacity could be possible but it is not vividly shown.

CONCLUSION:

The irregularities of expression are overwhelmingly dominant in TS Eliot’s poems. The Hollow Men shows Eliot’s innovations of irregular patterns in typographical and punctuation practices. Parallelism of expression, Eliot’s preferred poetic feature, is beautifully employed to produce musicality and ceremoniousness. Eliot’s semantic and graphological poetic irregularities bring about the difference between the language of conventional literature and that of the modern experimental one. These deviations create desired imagery in the minds of the readers. All in all, "The Hollow Men" consists of five sections of varying lengths. The lines are generally short. Like many of Eliot's poems, this one has an epigraph at the beginning – and not just one epigraph, but two. Nor does Eliot use a strict meter like iambic pentameter, though he sometimes used regular meters in other poems. Nonetheless, with Eliot's deep knowledge of poetry traditions, we wouldn't be surprised if he were parodying some French or Italian poet – we just wouldn't be able to tell you who it was. Number of word varying almost in each line. Syllables have been used some time very similar while other quite different. Hence T.S Eliot’s “The Hollow Men” is one of the best example to know that how linguistic assists intended to understand the literary analysis of the poem.

……………………………………………………………………………………….

                                             References

A linguistic Guide to English Poetry by Geoffrey N. Leech

Crystal, D. (1997). A Dictionary of Linguistics and Phonetics. Oxford: Blackwell Publishers Ltd

Freeman, D.C. (1993). According to my bond: King Lear and re-cognition. In J. Weber (Ed.) the Stylistics Reader from Roman Jakobson to the Present. London: Arnold and http://www.languageinindia.com/