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Companions, Dictionaries & Encyclopedias
2 " F remaD: C " ins Nationa| Encyclopedia
' Tbe
ia Encyclopedia 1L The
- A,e xeyev , Kartsov ft Troitskv -
Clitics 15. Ka pur:
Story of Mankind 18. Manfred A Sto v H ? ,
World through Ages 20 Suslhan Sarkar
Short History of the World '
22.
Basic
TraditioDS Tod
Meterialism and E mpirio C ri ticis m
Historical Material 2 7. Marx & En^ e K
Corn Forth: Diaiectica, ' ** *'
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&
13
29.
a,
i : The ^twoe of
: The State '7. Loon: The
W : Our
G!impse of Histor y 21. Wells : A
MateriaHsn, & Psychology
ian and Scientific 24. Ivochufc
Socia1 ^ Ideology and Culture
: ABC of Dialectical and
f the Com ~ P-ry 28. Maurice
Scares : An Intro-
/-it. i.
. Charlton M. Lewis : The
a 27
Principles of English Verse 35. Christopher Caudwell . Illusion and Reality 36. Classen :
Lectures on Style and Composition 37. Coombes : Literature and Criticism 38. Cunningham:
The Problem of Style 39. Damian Grant : Realism 40 David Daiches : Poetry and the
Modern World 41. Day Lewis : Poetry for you 42. Denis Saurat : Modern French Liter-
ature 43. Edward Thomas: A. C. Swinburne - A Critical Study. 44. Eliot : The Sacred
Wood 45, Elizebeth Drew : Poetry : A modern guide to its understanding and enjoyment
46. Emile Legouis : A History of English Literature 47, George A. C. : Critics and
Criticism 48. Wilkinson : How to read Literature 49. George Reavey : Soviet Literature
To day (1946) 50 George Thomson: Marxism and Poetry 51. Herford : National and
International ideals in the English poets 52. Howard Fast : Literature and Reality
53. Hudson ; (a) An Introduction to the Study of Literature (b) An Outline History of
English Literature 54. Jagdlsh Shivpun : Six Modern English Poets 55. James Reaves:
Understanding Poetry 56. John Berger : The Success and Failure of Picasso 57. John
Heath-Stubbs : The Verse Satire 58. Kulikova & Zis : Marxist Leninist Aesthetics and
Life 59. Laura Riding & Robert Graves : A Survey of Modernist Poetry 60. Laurence
Binion : Tradition and Reaction in Modern Poetry. 61. Leavis : New Bearings in English
Poetry 62. Lenin : On Literature and Art 63. Leonard Unger : Seven Modern American
Poets 64. Lunacharsky : On Literature and Art. 65. Marguerite Wilkinson : New Voices
66. Maurice Nadeau : The History of Surrealism 67. Maxim Gorky : On Literature
68. Michael Millgate : Tennyson 69. Mullik (a) Theory of Literature (b) Modern Lite-
rature , 70. Nambudripad : Marxism and Literature 71. Omond : English Metrists
72, Piekhaoov . Art and Social Life 73. Prasad : An Introduction to English Criticism
74, Rene Wellek & Austin Warren : Theory of Literature 75. Rees : An Introduction to
English Literature 76. Richards : Principles of Literary Criticism 77. Srinivasa lyengar:
Introduction] to the Study of English Literature 78. Strong : Common Sense about Poetry
79. Vladimir Sh-herbina : Lenin and problems of Literature 80. William Allan Neilson:
Essentials of Poetry 81. William K. Winsatt & Cleanth Brooks: Literary Criticism
82. Winchester : Some Principles of Literary Criticism
(E) Anthologies & Compilations
83. Edgar Allan Poe : Great Tales and i'oems of Edgar Allan Poe 84. Kazi Nazrul Islam:
The Rebel and other Poems 85. Maupassant : The Short Stories ot Guy de Maupassant
86. Mayakovsky: Vladimir Mayakovsky's Poems 87. Michael Roberts ; The Faber Book
of Modern Verse 88. Oliver Bernard : Rimbaud, Selected Verse 89. Oscar Williams :
The pocket Book of Modern Verse 90. Palgrave : The Golden Treasury 91. Ramana
Reddy : Sri Sri Miscellany 92. Sri Sri : Soudamini 93. William H. Marshall : The Major
Victorian Poets.
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This Book-
was first written as a
Doctoral Dissertation acd was submitted
the Andhra University in 1977 Cec. The Author got
his Ph. D. in 1978 and the Best Thesis Medal, thereafter.
Subsequently the original Thesis was modified,
revised and adapted as a Literary
Criticism with Marxist Outlook
in 1979-80 and is published
in 1980 in connection with
SRISRl'S 70th Birthday
celebrations
Title of the Book in Telugu
English meaning of the Title
Short name of the Author
Full name, & designation
Address
Copyright
SRISRiKAVITWAM : VASTUVU -
SAMVIDHANAM 1926 - 47
A Critical Study of SRISRI'S Poetry
with special reference
to Content & Technique
MIRIYALA RAMAKRISHNA
Dr. Miriyala Ramakrishna Rao, M.A. Ph.D,
Lecturer in Telugu,
P. R. Govt. College, Kakinada
10-4-23 Kakinada - 4
D Dr. M. R. Rao
D Text Printing : Sri Durga Press, Kakinada o Cover Design : Sri BAPLJ
D Back Cover Photo : Sri N. Sivannarayana Q Inner Cover Design : Sri ESWAR
Q Blocks : Sri Lakshmi Enterprises o Cover Printing : Swatantra Art Printers
O Publisher i M. Lakshmi Devi Q First impression 1000 Copies - 642 Pages
O Year of Publication : 1980.
PRICE : @ Rs. 60-00
For Copies : Smt. M. LAKSftMJ DEVI
10-4-23 ICAJC1NADA-4
Impressions
SriSri is the herald of an epoch,
Ph. D. &fT >35o CSo $'&r>\ , ^r* 3^r protagonist of a school of thought, a
torch-bearer of a movement and in short
is the Poet of the Age in the Modern
Telugu Literary World. It is rather a
stupendous task to explore, interpret and
assess him in the right perspective. It
requires a particular type of mental
f
training, taste and talent on the part of
his Critic and Commentator. Curiously
o/
rri&rr* MX^rfnTr^ ^n&v^x^ enough, Dr. Miriyala Ramakrishna Rao,
w fv) t\) \.s <\JU oJ O* VJ f > rO QT U&,XjUCOfvJ *^ "
1980 eS^ 6 an a< ^ e P t ^ n ^ e J uven He poetry set him-
self to the task at my instance and
accomplished it quite laudably just as a
burning bulb bears testimony to the life
b~~ of the electric power.
Jr-
SriSri becomes more alive on account
of Sri Mira's endeavour. I congratulate
Mira on his performance...
added incentive.
Prof. Dr. 5. V. JOGARAO
Research Director, Andhra University,
Formerly Professor of Telugu,
University of Leningrad, U. S. S.
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. An Anthology of World Poetry, Degneration
NORCAU
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W. H. Davies (1871-1940), A.E. (1867^1935)
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Regis Michaud
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(A) Companions, Dictionaries & Encyclopedias
1. Floren Elliott: A Dictionary of Politics 2. Foreman: Collins National Encyclopedia
3, Harvey & Hessel Tine : The Oxford Companion to French Literature 4. Hornstem ^ Percy
Brown : The Reader's Companion to World Literature (R. C. W. L.) 5. Joseph T. Shipley :
DictioEary of World Literary Terms 6. Moore : A Dictionary of Geography 7. Palmer :
A Dictionary of Modern History 8. Ronald Ridout & Clifford Hitting : The Facts of English
9. Rosenthal & Yudin : A Dictonary of Philosophy 10. The Columbia Encyclopedia 1 L The
Random House Dictionary of English.
(B) Biography, History & Politics
12. Alcxeyev, Kartsov & Troitskv : A Short History of the U. S. S B R. 13, Alice
Magenis & John Conrad Appel : A History of the World 14. Appadorai : The Substance of
Politics 15. Kaptir: Principles of Political Science 16. Lenin: The State 17. Loon: The
Story of Mankind 18. Manfred: A Story History of the World 19. Nathanial Platt : Our
World through Ages 20' Susobhan Sarkar : A Marxian Glimpse of History 21. Wells : A
Short History of the World.
(C) Socio-political Philosophy, Materialism & Psychology
22. Brill : Basic Principles of Psychoanalysis 23. Engels : (a) The Part played by
Labour ia the transition from Ape to Man (b) Socialism : Utopian and Scientific 24. Ivochuk:
Philosophical Traditions Today 25. Lenin : (a) On Socialist Ideology and Culture
(b) Meterialism and Empirio Criticism 26. Lenina Ilitskaya : ABC of Dialectical and
Historical Materialism 21. Marx & Engels : Manifesto of the Communist parry 28. Maurice
Cora Forth ; Dialectical Materialism
(D) Literary Cilticism 5 Art, Rhetoric, Aesthetics & History of Literature
29, Abercrorobe : Principles of Literary Criticism 30 Anthony X. Soares : An Intro-
duction to the Study of Literature 31. Arthur Pollard i Satire 32. Basil Worsfold : Judge-
ment in Literature 33. Charles Chadwick : Symbolism 34. Charlton M. Lewis : The
v Q * ^^ O f?
^**J ' j C rlTT o**i"\ / /
*^J w *J **J w*J U*i I
Principles of English Verse 35. Christopher Caudwell . Illusion and Reality 36. Classen:
Lectures on Style and Composition 37. Coombes : Literature and Criticism 38. Cunningham:
The Problem of Style 39. Daraian Grant : Realism 40 David Daiches : Poetry and the
Modern World 41. Day Lewis : Poetry for you 42. Denis Saurat : Modern French Liter-
ature 43. Edward Thomas: A. C. Swinburne - A Critical Study. 44. Eliot : The Sacred
Wood 45, Elizebeth Drew : Poetry : A modern guide to its understanding and enjoyment
46. Emile Legouis : A History of English Literature 47. George A. C. : Critics and
Criticism 48. Wilkinson : How to read Literature 49. George Reavey : Soviet Literature
Today (1946) 50 George Thomson: Marxism and Poetry 51. Herford : National and
International ideals in the English poets 52. Howard Fast : Literature and Reality
53. Hudson ; (a) An Introduction to the Study of Literature (b) An Outline History of
English Literature 54. Jagdlsh Shivpuri : Six Modern English Poets 55. James Reaves :
Understanding Poetry 56. John Berger : The Success and Failure of Picasso 57. John
Heath-Stubbs : The Verse Satire 58. KuHkova & Zis : Marxist Leninist Aesthetics and
Life 59. Laura Riding & Robert Graves: A Survey of Modernist Poetry 60. Laurence
Binion : Tradition and Reaction in Modern Poetry. 61. Leavis : New Bearings in English
Poetry 62. Lenin : On Literature and Art 63. Leonard Unger ; Seven Modern American
Poets 64. Lunacharsky : On Literature and Art. 65. Marguerite Wilkinson ; New Voices
66. Maurice Nadeau : The History of Surrealism 67. Maxim Gorky : On Literature
68. Michael Millgate : Tennyson 69. Mullik (a) Theory of Literature (b) Modern Lite-
rature { 70. Nambudripad : Marxism and Literature 71. Ornond : English Metrists
72. Plekhanov . Art and Social Life 73. Prasad : An Introduction to English Criticism
74. Rene Wellek & Austin Warren : Theory of Literature 75. Rees : An Introduction to
English Literature 76. Richards : Principles of Literary Criticism 77. Srinivasa lyengar:
Introduction] to the Study of English Literature 78. Strong : Common Sense about Poetry
79. Vladimir Shoherbma : Lenin and problems of Literature 80. William Allan Neilson:
Essentials of Poetry 81. Wiiliam K. Winsatt & Cleanth Brooks: Literary Criticism
82. Winchester : Some Principles of Literary Criticism
(E) Anthologies & Compilations
83. Edgar Allan Poe: Great Tales and ^oems of Edgar Allan Poe 84. Kazi Nazrul Islam:
The Rebel and other Poems 85. Maupassant : The Short Stories ot Guy de Maupassant
86. Mayakovsky : Vladimir Mayakovsky's Poems 87. Michael Roberts ; The Faber Book
of Modern Verse 88. Oliver Bernard : Rimbaud, Selected Verse 89. Oscar Williams :
The pocket Book of Modern Verse 90. Palgrave : The Golden Treasury 91. Ramana
Reddy : Sri Sri Miscellany 92. Sri Sri : Soudamini 93. William H. Marshall : The Major
Victorian Poets.
(F) tfatf. cra3b&, )<^8 &
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122. waxn^S T^sSo^*?^^ : <^sS-7V^&*3 ? q#tfg^Sbex> 123
tfTrex>, 124. *^$5)<ye) g^sl^SO : ^Soeo 125, wtftfTrw e^yon^ :
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1970
134. ^rt^c55ors "^5 : esiSbO^o^^a^sSw (s.g'^rXo) 135.
^^Syo f^\ 5^0^-00^ 186, S323c5^ol\j ft. : i
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142.
; D. W.L.T. (Shipley) ** Dictionary of World Literary Terms
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Robin Skelton < 'Poetry of the Thirties' /1964\wj5
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to go hand In hand with the interests of the working class and all armed attacks oo it
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Onomatopoeia
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or action disignated"!
Poe's short stories and poems are miracles of precision. Each word is in place.
Every sentence is constructed with the aim of contributing sharply to the ultimate and
clearly envisioned effect.2
The Raven, To Helen, Annabel Lee, Ulalume,
Eulafie, For Annie
The Bells
The Bells
The Bells
r/76 Bei/S
HEAR the sledges with the bells
Silver beiis
What a world of merriment their melody
foretells!
How they tinkle, tinkle, tinkle,
In the icy air of night!
o
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I
While the stars that oversprinkle
All the heavens seems to twinkle -
With a crystalline delight;
Keeping time, time, time,
In a sort of Runic rhyme,
To the tintinnabulation that so musically wells
From the bells, bells, bells, bells,
Bells, bells, bells
From the jingling and the tinkling of the bells-
1 The Oxford companion to English Literature.
2 Introduction ; Great Tales and Poems of Edgar Allan Poe a
Hear the mellow wedding bells*
Golden bells!
What a world of happiness their harmony
foretells!
Through the balmy air of night
How they ring out the!/ delight!
From the molten^golden notes*
And all in tune*
What a liquid ditty floats
To the turtle-dove that listens^ while she gloats
On the moon!
Oh, from out the sounding cells
What a gush of euphony voluminously wells!
How it swells!
How it dwells
On the Future! how it tells
Of the rapture that Impels
To the swinging and the ringing
Of the bells, bells 9 bells.
Of the bells, bells, bells, bells
Bells, bells, bells-
To the rbyming ar.d the chiming of the bells!
Ill
Hear the loud alarum bells
Brazen bells!
What a tale of terror,, now* their turbulency
tells!
In the startled ear of night
How they scream out their affright!
Too much horrified to speak,
They can only shriek, shriek.
Out of tune,
la a clamorous appealing to the mercy
of the fire.
In a mad expostulation with the deaf and
frantic fire f
Leaping higher* higher, higher*
With a desperate desire,
And a resolute endeavor
Now now to sit, or never,
By the side of the pale-faced moon,
Gh 9 the bells s bells, bells!
What a tale their terror tells
Of despair!
How they clang, and clash, and roart
What a horror they outpour
On the bosom of the palpitating air!
Yet the ear it fully knows,
By the twanging,
And the clanging*
How the danger ebbs and flows;
Yet the ear distinctly tells,
In the jangling*
And the wrangling,
How the daoger sinks and swells,
By the sinking or the swelling in the anger of
the bells
Of the bells
Of the bells, bells, bells, bells,
Bells, bells, bells-
la the clamor and the clangor of the bells:
IV
Hear the tolling of the bells
Iron bells!
What a world of solemn thought their melody
compels!
In the silence of the night s
How we shiver with affright
At the melancholy menace of their tone!
For every sound that floats
From the rust within their throats
Is a groan.
And the people ah, the people
They that dwell up in the steeple,
All aloae f
And who tolling, tolling, tolling,
In that muffled monotone^
Feel a glory in so rolling
On the human heart a stOBe
They are neither man nor woman-
They are neither brute nor human
They are Ghouls:
And their king it is who tolls;
And he rolls s ro!ls 5 rolls,
Rolls
Apaean from the bells!
And his merry bosom swells
With the of the bells!
And he dances, and he yells.
Keeping time, time, time.
In a sort of Runic rhyme.
To the paean of the bells
Of the bells:
Keeping time, time, time,
In a sort of Runic rhyme,
To the throbbing of the bells-
The Bellsrfb
Ironbellsjfc
Of the bells, bells, bells
To the sobbing of the bells;
Keeping time, time, time,
As he knells, knells, knells,
In a happy Runic rhyme.
To the rolling of the bells
Of the bells, bells, bells -
To the tolling of the bells,
Of the bells, bells, bells, bells-
Bells, bells, bells
To the moaning and the groaning of the bells. 3
Silver bells, Golden bells, Brazen
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15
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MARCHING SONG
Chorus :
March on, march
The drum resounds in the sky above,
the earth below is all agog,
You the corps of youth of the scarlet dawn
March on, march on !
We shall knock at the door of dawn
as usher in the bright red morning
We shall put an end to the Murky night
and to obstacles as big as the mountains.
We shall sing the song of the ever new
and shall liven up the cremation ground
of thousands.
We shall import new life and fresh
strength in the arms.
March on, new youth.
Listen carefully to the call of life
on the threshold of death !
Break, break the barriers
March, march ! Let us march on!
. 286
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Chorus :
March on. march on etc*
Above, thunder rolls out the command
You soldiers pledged to martyrdom
raoster, march out in all directions
and open up the Chamber of sleep !
Long ago you lost the royal status*
you the wanderer still longs for the past
and sings and sheds tears*
Let the fabulous throne of by- gone empire
be by-gone.
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Awake, you insensible ones !
Note how countries like Persia, Rome,
Greece, Russia and so many of them
went under
Yet they have all awakened again
you weaklings, awake, arise !
We shall build up a new Tajmatia!
out of dust and soil !
March on 9 march on, march on 1
Chorus :
March on march, etc. 2 (1929)
Scr
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2 The Retel and Other poems.
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classless society. Communism is nothing but the endeavour to help this natural trend
onwards in conscious manner"
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defined as the act of expressing ideas, and emotions not by describing them directly, nor
by defining them through overt comparisons, with concrete images, but by suggesting
what these ideas and emotions are, by re-creating them in the mind of the reader
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263
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a plant to grow, and we must draw our own conclusions 9 . 2 t,g JC3c"s5"*\ 5)8
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mystic - idealism and the anarcho - individualist freedom of the artist and the idea of
the self- value of art and denied the social mission of art.*' 2
Social mission of art -^ i|if sStfJtfi eo&So^tfo. )ore)&>e Ss>X5oA < 3T'iS\ i|s|
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theory indicates eoi>r- "SPlSoQo^r %5&V6 ^&eXjo^T'K X5>8io-tfwS)
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2 A Dictionary of Philosophy
311
Sftf
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. It is something which stands for
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23
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without analysis or synthesis, the impression as it is seen or felt subjectively j n a single
fleeting movement. They donot wish to explain the essential central thought or to
organize all the details explicitly into a conventional formal relationship to the central
idea.' 3
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From heart and spirit hopes and fears.
A. C. Swlnburae*s Songs before Sunrise
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I am that which began
Out of me the years roll;
Out of me God and man
I am equal and whole;
God changes, and man, and the
Form of them bodily; I am the soul-
X XX
The sea one pearl, the shore one rose,
All round him all the flower-month flamed
And lightened, laughing off repose.
399
ea**>eo ? 4ft
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skill and a great richness of sound, with complex rhythms, intricate patterns of allite-
ration and assonance and rich riming. Sometimes, the sound is so enthralling that it
becomes cloying or hypnotic, and the reader suddenly realizes that he is reading along
happily without the least notion of what is bein^ said. He may even go back and
find that nothing is being said"5 ^^^ fce{&5\ 1 00*3
C*> oJ Oi, l_
^S6o?sr;
\ ' \
^ SM>
W.H.Marshall
v. ^ o
"In his review, 'The Poems of Dante Gabriel Rpssetti (1870)* Swinburne pointed to the
Qualities distinguishing great poetry from that which is merely good; and though his
language is excessively florid, the description may usefully serve to indicate the qualities
which Swinburne strove to achieve in his own work : "strength, sweetness, affluence.
simplicity, depth, light, harmony, variety, bodily grace and range of nittd and force
of soul and ease of flight, the scope and sweep of wing to impel the might and weight
of thought through the air and light of speech with a motion as of mere musical
impulse; and not less the live bloom of perfect words,.*.. ..the rare and ineffable mark
of a supreme singing power, an element too subtle for solution in any crucible analysis*^
5 The Reader's Companion to World Literature.
6 The Major Victorian Poets.
400
o
G?
f
J oi
'Shelly is supposed to be the master of Swinburne* 7
"Sheilas
o Z5 * " CO O
command of the sound effects of his verse is nothing short of marvelous. To this
melody, he brought Bother qualities of greatness a sense of form intensity and
sensuousness" 8 aa l^kt) rtbSo-D e)o^Tr D 3Sr0^ B< )^5oo ^oa^^-o^TV "*xl)
* oo 23 / oo
So6^ ^"> So^PS' r r ^J 1B ^> < ^r*^
/ oo ^ < o
'I lean my cheek to the cold grey pillow / The deep soft swell of the full broad
bellow** sSotf W&rirSC'* ^)tj^)oa. ^ ^gr^^Ceao^ Sf 2S?5
00 ~s* <O
oJO XJ -JB CO OO
*From my wings are shaken
the dews that waken
The sweet buds every one,
When rocked to rest
on their mother's breast
As she dances about the sun.*
oo \ y oo
ooo^ S'S)
C5
^1431-62.)
V 7
"A poet's tesinfc&s is presumably to write good verses, and by no means to redeem
the age and remould society"
7 The Sacred Wood.
8 The Reader's Companion to World Literature*
**& 88nFK>3 ! eofivi
JD
*
?>cS"
OJ
^"^ ? j i
So, S&^eS69 -
(oA-s-?)Sc5Sr. TO ); tfxSsr-Abes-exs 9oe
"Read silently alone, it loses the effect of combining and accumulating sound ; at most,
the words only give occassional transitory impulses to the spirit. In Swinburne's poetry!
the large groups of sounds and meanings are what count, and except in a short poem
the eye and mind cannot do justice'^
: <f OrdiDary CommunicatioE demands only the use of certain techniques,
but art requires their fusion in such a way that all contribute to the wholesome of
the given poem or painting; the integration of sound and color, the significant ordering
of detail, must achieve totality of effect, the intensity of expression, from which the
derives its greatness," sr& W. H. MARSHALL
9 A. C. Swinburne: A Critical Study.
10 The Major Victorian Poets.
2
e^p\^ qe)c3&r s "What we get in Swinburne is an expression by
^^
could not possibly associate Itself with music. For what he gives Is not images and
Ideas and music, it is one thing with a curious mixture of suggestions of all three" n
8s$exn>oSi^
A Song of Italy (1867) Songs before Sunrise (1871) ! ^o<sb ^ip
00
.
X X Cj w
00
A-ofi. O Sole desire of my delight / O Sole delight of my desire
Soft
11 The Sacred Wood.
12 FRAGOLETTA.
403
!!
m rfsoasftssr,* mi
6-0*50.
S^ofiss , "Now in
Swinburne the meaniag and the sound are one thing. He is concerned with the meaning
of the word m a peculiar way; he employs or rather "works" the word's meaning.
And this is connected with' an interesting fact about his vocabnlary; he uses the most
general word because his emotion is never particular, never in- direct line of vision
never focussed; it is emotion reinforced, not by intensification, but by expression.""
--
! oo wsg 3r*$zrSo$ /r^e fcofi.
^>9o-a ^avs.^r' ^^|?5-JfoS esS^5Sr'bex:_ There is no other poetry where the sub-
stance is so subdued to the musical form of verse. It is not thought set to music,
but music wh.ch has absorbed thought. 1*
6*5Ptf^X!go !
Wow!
OO
13 The Sacred Wood.
14 A. C. Swinburne: A Critical Study.
X**
o
d6a>7T*i
SSlXtf o
^-
oi
e
, 3
"
,
60
G
SfiySooS
1900
/ / Qiiiiini ....... ^^ /
70
1936
#BHD
O
5^ a '^6o55
23
Tx5 S'-tf^w 1816 ^of^^s, S^sl^ ^i5^5c 1920
1792 tr 1 ow2fo. rsi^ S) 1897 er*
1825
^oS^o^^ u^w
1837 eT 8 ^ir-sfo, ^1^ 1910 eT* $srifo. 8>sS"wff^tftftfeo 1865
1935
1928 ^^ j^ ^jidS' 63 WSfcsSaoxT-*. 1935
I^reo%3- B ifo, 1825
8crsr lf jfrowzfe. sso ws
406
Sf
If love were what the rwe is
And I were like the leaf
Our lives would grow together
In sad or singing weather
Blown fields or flowerfel closes
Green pleasure or gray grief ;
IF love were what the rose is
And I were like the leaf,
If I were what the words are
And love were Hkc the tune
With double sound and single
Delight our lips would mingle
With kisses glad as birds are
That get sweet rain at noon
If I were what the words are
And love were like the tune.
S'a TJ*SS
A match
If you were April's ]ady
And I were lord in May
We*d throw with leaves for hours
And draw for days with flowers
Till day like night were shady
And night were bright like day
If you were April* lady
And I were lord in May.
If you were Queen of pleasure
And I were King of pain
We'd hunt down love together
Pluck out his flying feather
And teach his feet a measure
And find his mouth a rein
If you were Queen of pleasure
And I were King of pain. 1
e>
If love were what the rose is / And I were like the leaf &tf\a
CO
a
1 The Golden Treawrv 396 P.
40'
855-
oo
-OsSQ
hours ...... We ' d hunt down love
"
we'd throw with leaves for
-woi>r-
sad weather, singing weather, blown fields, flowerful closes,
green pleasure, gray grief, double sound, single delight, sweet rain, queen of pleasure,
Irinjy nf nain fl-urnc* fi=a*Vna -x _ * ^^^ a^ & & .. ~ - _
king of pain, flying feather
L $ L I
cOO
-u
A Match 5 wfctf8i$p> tr-lbS
(?
o
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oJ
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^
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w
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(p ^ oJ
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oj
tftttffo&oO S)<S^sl Bj^^o^S' tf^^^S
t,
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sSKStr 8 KKtS:)c5DS5:p"^ ! ^o^p^
o oC Q O C3
ir a
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From eyes and tresses flowers and tears / Fiom heart and spirit hopes and fears
s5(jfy$'oXo &j%
CO
[III 1935 &)-?^ ^^5oao^5^ ?6^r^z3^^o-^^ "Swinburne i^xtfo ^So,
v. v*_ ^ p V. u
O
? ^
Q
? JiofialoeJ S^otititi-erte "^^j ...... Tears - fears
\
/
1
[I
v_ V-
I *
i i
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(2)
sr-fe
WooooS.
asiss>ae&8S>
s
9? :5S
Wg>U>c3&>o, e"l |j[(lf 'SS 8 Sfcoa, "The bad poet dwells
partly in a world of objects and partly in a world of words and he never can get
them fit. Only a man of genius could dwell so exclusively and consistently among
words as Swinburne. His language is not like the language of bad poetry, dead. It
is very much alive with this singular life of its own". 2
O
Q
C>N
g) ot
2 The Sacred Wood
-112 ti<|> a atf^o
A
Be,
to
A
a^tf^eSXr^S S^tfs5< &oooou tfctf
X
'
i o,
co n
Harmonic Du Soir^
ol
^\
d
so
14
(3+4+3+ 4\ ^Jrgoer* ^xr^tfaSye; Sfi5^>e^cx. 6+8, 8+6; 5+9
6+8
ra Q
9
8+6
(6+ 8j r^^oTr' + ^r^^So^x (6+8)
(8+6j
(5+9) ^Bf-S+-S8|Stf5Sb_o (5+9) ^ej^8;5+tfo>i^xr* (6+8)
(6+8) sSods&x 14
^
3 Charles Chadwck : Symbolism,
4 |;'|> r*. -3o& sfi. 180-81 4.
1987 3 Mm (1}
JO
Sublimate
Cyclone
Suipharic acid
o
sSB o-tSa&tf dSt5-*exr
Q
(1914-18)
-agoa.
ST" ^ ^ KO
f SPOO ^oe wojwosr^ooo. |o
1937
CD
(1917)
(1915)
416
XJ
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1 esS^tf
g'a
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c)
a
1*\ X f\ i*
M18 er* eoJ^d*aJT "tS^^r* 6ar 6 fcS' ?3o?SD5"ra,
S5 t u3~ D \000 ^^ "^oS
Q c^r> \J
o S5bcne3"^or30. -^a ^SoS^ ^Sx^Si^^SsS^sSKje^ es^o ! -& ^SX^^SS^OSCSFJCOD
oJ ^-
''Fascism is an oven terroristic dictatorship of the most reac-
tionary, most chauvinistic and most imperialist elements of finance capital", a
(1922) ^^)e5^^P> fioS^a^?^ (1933)
W
051*^0 (National Socialism)
)6 -So^cxooQ. ^oSsS^otfdtoSo (1989 J
22-
Q
(? O
asl
"The terrible threat of fascism to the peoples of the world lay In the fact that
it meant the destruction of all democratic freedoms, all political and social gains that
the working class had won in long years of struggle, and that It meant nothing but
slavery, spiritual degradation, and cruel suffering under the yoke of tyrrany. Fascism
stood for terror and unbridled reaction at home and wars of conquest and plunder
abroad, all for the sake of enriching a handful of imperialists. A deadly danger hang
over our civilization and indeed, all of mankind"*
. ^
eo
\&
1 > o^
fl
v-v-
2 A Dictionary of Philosophy
3 A Short History of the World 144 P.
[53
418
si S
<X
sr-6
1936
18s
Sta'cr*>.
a
International Brigade jj,
1937
rj
1939
1941 tf* estfjbl
(5
oJ oi.
jfe.
/
c)
o. "The revolutionary war of the Spanish people is one of the most glorious
episodes in its history and in the annals of proletarian internationalism. Progressive
elements all over the world rose to the aid of the Spanish republicans 59 *
oo o n * A
International Bri
XJ
Julian Bell, John Cornford, RalfFox, Lorca
<( The Spanish War certainly caught the poet's imagi-
nation. Many joined the International Brigade. It seemed de rigueur to visit Spain, and
to lend one's name, if not always one's armed presence to the cause of workers. Auden
and Spender both made visits, the former as stretcher-bearer, the latter as head of
English broadcasting in a radio station which he found to be defunct*'. 5
1937
Q>
a
ol
4 A Short History of the World. Vol. II 150 P.
5 Poetry of the Thirties : Introduction - Robin Skelton.
';
o
f)#3NSScxr.
g'5S>1BoS8 r8 dsrv^fc. SPAIN - IF. #. ^M&/I; A Thousand killed - Bernard Spencer;
The Non-interveners - Geofferey Grigson; Two Armies - Stephen Spender; A moment
of war - Laurie Lee; Elegy on Spain-George Barker; Autuman Journal - Louis Macnelce
CO
Poetry and Prose
. 63
71sS
Q
So
SMSlS^
o,
o
ii)^6ocroT5lS |j I)
V-
i5 es otf^tfo "^3 "5 osotoer* Contemporary
Support Spanish People against Fascism 1
o
es
S3-5
ri5b35a-(ooo. -eft sreKbAvw
et
421
(1854.1900).
(Technical skill)
CO
'Form is everything. It is the secret of life' es ^ ^ STS 3 ! * *
N tV-6-a JL ^ & ft ^- **" QCp Q_
;>o* S3-^ ^ofc. L L I ^fl^ex) 3 S5^e>o, q o b^ ^asflfi st&'M
0__ V-
3, 10, 13, 14
, 2 ^co -tf56dc^&ex>; 2, 4
"A poem had an architecture and it was well-built or ill-built. It's shape ought
not to be a matter of accident or intuition, but ought to reTeal at least in the
ideal case the precision and rigid consequence of a mathematical problem*'*
-
so,
oo
(1)
(2)
(3) ^
(4) ao^ ? HAS^axtf, sSsS o^^ . ^^ S>Tr>s&jr&$$Q. (5)
6 Literary Caiticism 589 P fl
"Bofifo
Rr-w- ^-s^tT- &Stbo3
O
6^x000,
(1)
,rS
o_
1937 >er 25
TBtf^
"L
SS3S> Wgfi
QP
Ooe*e;Sao2&
u ^- " oo oo
a
***^b*
424 v 3*0 :
**mf *Jj* %
jx
1930
c?
c^ ^ r ^^ t
c/("v.i \y <"O
oL oo
6
o
23
\
e;S)N "
ci
' \
f *&>S>o ^T6"^D^\
^)^0 ^oe>8^>^P r
v^*
C?
S'ir'd" Sft$js>
eo
co ol 7 2* . / J^ ot oi (J
a
1915
sn
^K2So,s5o*sj-&o
tftfoooSo
o, c
ZfcJf^
g'S
00
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OO
Applied Poetry
^
[54;.
n
tl
V. V
ra -
o
g)
o
I I
V^V.
Q
ou
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0000
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(Manifesto of the Communist Party)
e
C?
ep
"SoStf ISST^rao
>-
<?
23
(?'
Working men of all
Countries, Unite'
(JjJ
"Society as a whole is more and more splitting up
into two great classes directly facing each other: Bourgeoisie and Proletariat"
-- - -
^08.
e CO
a *u)
^D ^ir-osSo'
eo
A
o^sSc" 8 ^
s 23
(j. tfe ^eB^ope^) si
12
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49
423
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(2)
(3)
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(9)
O a eo
fio5T|^$5acjo ^S>Kb "S a>5> ^sSe>oS>J5aoa. ^SeJ^^er 6 I
23 ^- -O &5 a oo
"Dealing with the workers by legal and extra-legal means, unleashing police
reprisals and sending regular troops to put down industrial or student unrest and 'riots*,
the exploiters* state introduces violence into the struggle* which is, as a rule, armed violence"!
2 ABC of Dialectical and Historical Materialism 3 14 p.
exr
(Abolition of Private Property)"!
Sf^cSSjgo n
POj5SK
23
<4 Then the revolutionary proletariat is obliged to spearfuead its struggle against
political machmary of the exploiters' power, i. e; against the bourgeois state. The
.first step ia the direction of political struggle is the political strike". 4 "Revolutionary
P lic y ...... is aimed precisely at overthrowing this system (existing social system)
through the proletariat struggle"*. w lt is only when the "lower classes 9 * donot want
to live in the old way that the revolution can triumph"
23 <?> c?) cn ' oL
S5^^3 sr6 ^^5?)Si8o. 2xn&
oo * 23
48. 52, 73 f>.
4. 5. 6. ABC of Dialecttical and Historical Materialism 314, 344 PP.
432
>*
(10)
GO
i
"
(Conservatism)
ol
(sic)
i^
O
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sic);
j***
v
47
(1)
(3) sstf^S"
483
. ODCJ-
c5Sjc&>N-^ w 10
(f O
b5o-o ^8*rv6, 'SxjiST* saff f 1780-1826^, ^ScsSj^ ^1772-1837)
(1771-1858) s$o53ar*si sSZS'g'osHsiN ^o8"6o) ^siSsfSN
v ' O C Q ol
9 69 -ft.
10 .. 70 -4.
[55]
434
(12)
(11) m->sj*oD C^JJ/Y* -tfa-Bpaa. ^ao-tfo S>s
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tfng*> ! T-BJ
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+ ?6o^)^^o e-S ^-^jer 1 XSteS S^sa^atf^o^^; +
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4
f >
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SB^tfB
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S5 ^So)^. ^o^^o
tl
v. >
83
'fiT^&S' (exploitation),
83 eo . ^ ^ C?
1937
JL / *-^ a
ro
e
Q
^
til
V
j
C?
C?
oi
3
00
23
OU
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00
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S"*^ ^S^cHo/P -g^SjSoex) e55$>&> asBAsS ^
23
drCSo
oj
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23
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CD
>
C5
23 ""03
U
,- IN
es
/~\
"Those who toil and live in want all their lives are taught by religion to be submissive
and patient while here on earth, and to take comfort in the hope of a. heavenly reward"'
"Every philosophy expresses a class outlook. But ia contrast to the exploitiflg
classes which have always sought to uphold and justify their class position by various
1 LENIN: On Socialist Ideabgy and Culture 37 P 8
disguises and falsifications, the working class from its very class position and aims
^concerned to know and understand things as they are, ^ j
(2)
Q> O
ST.
as o as o
V CO
sr'-s^tftfo
CO CO C/ C?
,
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2 Maurice Cornforth : Dialectical Materialism - I P.
[56]
n
S3
. eer-ofl
442
oo
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O
23
00
'^ (Pure Art)
Q
1905
C?
8,
C?
23 o
A
j
c?
o
443
*!Down with non-partisan writers ! Down with literary supermen ! Literature must
become part of the common cause of the proletariat, * s a cog and a screw'* of one
single great Social - Democratic mechanism set in motion by the entire politically con-
scious vanguard of the entire working class. Literature must become a component of
organised, planned and integrated Social - Democratic Party work"*
(p
aapsSSTaS <3erVr* ^o&bSood. S3o\tfoarS&'3 ^ w
23 *) '
ScSos &<SSy8 rs5*o^S>8 ^-ofiS^^o ^pe
eo o
X3;v ^^S^, Bfi'S^* S %
* V
5-x5^ex>^rir*Sfe f5fi$r*?r*So ^d^fl
gy otf "c-C^lS e^^o i6-S
**'
( a O
So$r<5 "S?-ES-\ oOo-CS^a m^&oT'SSosSS^^. "There can be no
C3 * V 23 tJ <|i
real and effective 'freedom* in a society based on the power of money, in a society in
which the masses of working people live in poverty and the handful of rich live like
parasites. Are you free in relation to your bourgeois publisher, Mr. Writer, in relation
to your bourgeois public, which demands that you provide in with pornography in
frames and paintings, and } prostitution as a "supplement" 10 ''sacred** scenic art? This
absolute freedom is a bourgeois or an anarchist phrase (since, as a world outlook,
anarchism is bourgeois philosophy turned inside out), One cannot live in society and
be free from society. The freedom of the bourgeois writer, artist or actress is. simply
(or hypocritically -masked) dependance on the money bag, on corruption, or
" 5
9 <
fJTX'&LI I U < IO > % "~ / ' ^^ ^-v^-' v^if rvjf ws/ **^^^ *^^ >^^ *-^ -^ ^ " ^ .- __ QX
23
4 On Literature and Art 23 P.
5 On Literature and Art 26 P.
; s&fc
OJi
sSS"
MW
$9
oJ
\^} Ov
sx>o .
o
6
;
. 200-01
445
"It will be a free literature, because the Idea of socialism and sympathy with
the working people, and not greed or careerism, will bring ever new forces to its
ranks.
It will be a free literature, because it will serve, not some satiated heroine, cot
the bored "upper ten thousand" suffering from fatty degeneration, bat the millions and
tens of millions of working people the flower of the country, its strength and its
future.
It will be a free literature, enriching to last word in the revolutionary thought
of mankind with the experience and living work of the socialist proletariat, bringing
about permanent interaction between the experience of the past (scientific socialism, the
completion of the development of socialism from its primitive, atopian forms) and the
experience of the present (the present struggle of the worker comrades.)
"
\ 6
OO
0,0
f i f
l8lf tf-Oo-OS
v- v.
ss
(1)
SPO
7 On Literature and Art 26 P.
8 SP. -Soda. fitfSS. 500
416
g}8Ao&
(2)
v /
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(3)
o
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(4)
o
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(sequence)
<*> /
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e5 < H-jrsxr> >
OJ
okx>0(9. >^j(^) ^?5o
-O 26
. 26
8 e5cll"D^a^D3-u) 13
3
9
sxrs'efjo eoej-^.- 12
j
9
18
CO
C Ow * **
(19) Br^dj^^^^sDPsr Ltf^acnsr SjoSoOeStfc^P^sr' (23)
V, **^ f J cx^
4
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- oj
'The teaching that the world is material, that there is nothing in the world be-
sides matter and the laws of its motion and change, is the corner stone of Dialectical
Materialism 9 *
*A11 the mysteries which lead theory to mysticism are rationally resolved in
human practice and in the understanding of this practice.* 2
>-=
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Q
(Pore Philosophy)^
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ro c' co
1 A Dictionary of Philosophy
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sr?rSS ^oa^^<3o* "Nothing exists but the
sensations and ideas in our minds, and there is no external material reality correspon-
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minds about their true condition** 5
23
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4 Dialectical Materialism part I - 16 P
5 IBID, - 2! P.
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.the overcoming of idealist illusions and fantasies/' 6
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In literatore Marxist writers turned to an
interest in the lower classes and to propaganda aimed to eliminate their misery and
to 'improve society' along Marxist lines."2 ^ e>ws aSSofio^^ _(j[|
(2)
(3)
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2 The Reader's Companion to World Literature 323 P.
3 TBS'S. dSj.ig aja sr-ggp 8
4 The Part played by Labour ...
>- oi.
. "Everything precious seems beautiful becaose It Is associated
with the idea of wealth >>5
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organizer of culture and creator of all ideas, those that have for ages detracted from
the decisive significance of labour - that source of all knowledge*' 8 &\
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6 GORKY: On Literature 253 P.
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absence of technique; realism is not grubbing; mediocre mole's running through the
mud; realism is not the substitution of *bagoo' of idiotic, thoughtless political chaptrap
for all the rich and variegated beauty and colour of the people's language; realism is
aot the 'leftist* imprisonment of art in manacles, a substitution of dogma for taste, of
doggeral for verse, of pattern for the full flight of creativeness, realism is not a sub-
stitution of addition for creativity, of substraction for insight, realism is not the enemy
of love, warmth and sensitivity, but rather the handmaiden of these qualities.
(6)
7 Literature and Reality : Howard Fast 35 P,
rasa, **e ^*0
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1937'eT 8 snr* TT^fifcl 1930e5^
t*
Lectures on Style and Composition a^ iXo^oeT 1 E. CLASSEM
OS:- "Words as they stand in a dictionary are dead, and, in
spite of the columns of meanings attached to them are really meaningless. A Dictionary
is indeed, like - a graveyard. The tombstones tell us who and what the inmates were,
when the breath of life was in them, and may even tell us what they would be if they
were again quickened into life. But for the present, they are safely buried. So it is
also v,ith words. Take them out of their grave, join them, and they will spring into
life, each yielding strength and force to his fellow
" s
9. Lectures on Style and Composition
1937 eT*^ 10
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ORCHESTRAL FORM
29"
a.
. 50.6
<&rao **a blending of meter, free verse, rime, assonance, and tbe return
i.e. return of dominant image" 3 1
(4)
(evocative) 77*
vogue of free verse served to challenge the arbitrary mechanical esc of meter
and to focus attention on the evocative value of words'* 3 -^
(5)
\ /
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(Polypbonic prose)
(Polyphonic iverse) sSr^ig^, S^fit^RrtfSeo (Polyphonic wise)
John Gould Fletcher e>l gSD ^xtfaa : "a way of fusing together onrhymed vcr libre
and rhymed metrical patterns, giving the rich decorative quality of the one and the powerful
eoociseness of statement of the other"*.
1 ^ Sj*CW 'f5*Jr
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31 SHIPLEY 274 P.
, 506
33 SHIPLEY 133 P.
34 Introduction to the Study of English Literature 244 P.
[65]
)
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v Vfc
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oo. <4 When there is no stir of feeling in the poet, there can be no poetry,
but wheii there is no metre, poetic expression cannot acquire the finish and regulated
articulate energy which the descipline of verse alone can give. The stir of feeling and
metrical form are like impulse and law to the poet, and both are necessary **
oloo
\
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STROPHE
a
Strophe ^ S^Tzs^o^o. 'The unit of verse libre is not the foot,
the number of syllables, the quantity or the line. The unit Js the strophe, which may
be the whole poem, or may be only a part. Each strophe is a complete circle."
35 IBID 246 P.
36 Amy Lowell: See Introduction to the Study of English Literature 244 P,
EVOCATIVE
ratfg
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images
EVOCATION. (Evoke ^ jj^^ to suggest memories, feelings
etc. e etfo. 'The music evoked the mood of spring'
"evocative value of words"
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^ ?o ej d
symbolist, words and music were one, Baudelaire announced the intimate union. Poetry
joins music by a prosody whose roots plunge deeper into the human soul than any classical
theory indicates/*** ''e35^r^S^r^o^ sSbofiJo^oa ^^c^^ AjlfeSpcBc
o
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"To wrestle with nature, to give our bate a cr^tive material outlet^ ***&
forms of sublimation. To dance, to write love poetry, to pay the woman we love
39
. 457 >.
.18
compliments of service or speech are the ways in which we civilise sex. Thus these
iostincts whose blind strength might make us their blind slaves, acknowledges us as their
masters and increase our spontaneity because they are given a conscious and therefore
social adaptations"*
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*'We want to achieve a new and better order of Society; in this new and belter
society there must be neither rich nor poor; all will ha?e to work. Not a handful
of rich people, but all the working people must enjoy the fruits of their common
labour. Machines and their improvements must serve to ease the work of all and
not to enable a few to grow rich at the expence of millions and teas of millions of
people. This new and better society is called Socialist Society. The teachings about
this Society are called Socialism 3 **
o
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4 V. L LENIN - A Short Biography.
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v*r -x^ -wnw * - **f - ^/ JL
pafticular people^ country, period^ person etc,, usually written in Chronological order" 1
1 The RandoiB House Dictionary
4*
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558
en
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** the essence of history lies In the evolution of an entire people, a society
rather than individuals*
io-OcS-i58(jJ
?5reJ(6^S'o
co
(1)
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2 A Marxian Glimpse of History,
540
CO <i> -
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CO
Z3-5)^c3&wS^o w aC>?foSboa. (3) "Toe history
of all hitherto existing society is the history of class struggles'^
i
.
23 z> a e*. n
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3 Manifesto of the Communist Party.
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1917
A , co
5
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1 6t Lack-lustre graves of the homeless the nameless
imsing and uojive in an orchestral husjh..**
. ' '., SRISRI MISCELLANY.
Qs
/ o
; aocS*S!So$cr>otfo S^5boa2. XJSSodS,; i^abcSsStfod; z^C
creation - destruction; spring - winter; darkness and light
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^
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^Shadowy threshold/of Hades and Elysium/opening and closing/its black and white
doors/Creation - destruction's spring - winter cycle/holds darkness and light / ia an elemental
hug. SRiSRI MISCELLANY.
3 '-At the boundaries of life and death frantic exhausted a funeral pyre smouldering
yawns in disgust" .IBID
&sn b. ^ dfi
S&?<btf\ srK
ei, csC
,
ooo.
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desrfAr^cSSjaofii Kjo"leSo7Y^ feo^8o"t5s^?) bex"^2i>, (
(4)
u) / / o 23
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23
4 Oh Cosmic disaster/the thundering football/of HIRANYANETR A/rebounds and re-
sounds / This is Kurukshetra/our farflung battle ground/where angry VRIKODARA'S mace
doth menace us" SRISRI MISCELLANY
5 ^ 3. tfSXS3-*T& . c *S8i?6 14 cSo.
6 **Race against race/and nation against nation/
under the banner/of Annihilation/
Obeying the last storm's/first blast of trumpets
rally and reel/in a Cataclysmal Orgy' y SRISRI MISCELLANY
r r
(5) tfcT2o8sSffQtfotf. otf * **** ,
L "
^
Xo 8-
S 14 So. 118 i>.
^Dazzling red corals/of sizzling fire flora
encircle the earth's/spindrifting shores
Today the sun's horses/ the seven strings of the rainbow
Celebrate the birth date/of a world reborn"
-SRisRi MISCELLANY
[701
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fraternity)
(3) t|;i|j Sj'^^er'sr'SSo ^3bosr'SsSj=;5r i r&&, (Socialist Humanism.)
Qo^oo ^^A^ *9"^ "Communism is the supreme
embodiment of Humanism for it eliminates all surviving traces of inequality and esta-
blishes the supreme expression of Justice, the principle 'from each according to his
ability, to each according to his needs' providing the essential conditions for the har-
monious development of all individuals. Communism delivers "all men from social
inequality, from every form of oppression and exploitation, from the horrors of war,
and proclaims Peace, Labour, Freedom, Equality, Fraternity and Happiness for all
peoples of ihe earth". i sf^ && ^^a-o r^o*o
1 A Dictionary of Pi i'osophy.
O
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(Space, Time and Matter) ei
(Molecule) ^CT-^ ^o^o (smallest particle of matter).
F>$$)& oS"8g'o<py r e. qtizt e^o2Sc5S3SScn?6^5fo.
v, "Man was the last to come but the first to
use his brain for the purpose of conquering the forces of nature".*
2 The Story of Mankind 3 p.
[71]
ewfc!C58o-Doa. SS^s! es^o^^ooooS ^S&. "In short, the animal merely
uses its environment, and brings about changes in it simply by his presence, man by his
changes makes it serve his ends, masters it. This is the final essential distinction between
man and other animals, and once again it is labour that brings about this distinction'^
oO lilt WSS7VS5-S s&r8 fc _NBo5** SfcoD
^ v- u r-<
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(molecule), r&^\Si (tefeacope),
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568
(2) d'otf^eg'sSSH-oo ; . sS&a^se^ssVo. (museum), ?O)G?p-7VSo (library),
(college)
(3) d-S^JStorsSSeneo :- sSe^Syedfcj, r^i^So (factory),
(tram) , j5b-So ( 5^sS-^s5o, q^s^X (aeroplane), o&o^o (machine),
(proletarian), ^y (strike), Riabsjg (problem), 5^,5 (exploitation),
(tools) , esofir*?s> (agitation), ^,^^5 (capital)
fc.Bft,_ ... ^^^ O "^
(4) sa^^^^^^Sanoo^-SSo^o (hospital) sSo^s5Q^ o (sub-conscious)
~* fl / Q e) 3 &c 0__o o
(suicide) 3 ss (individual)
p,
(5) TT-assiiSJSzj-oo :_ -g^^ocJSoo (office), ^>-crX^*$-3, ^5e5'rir'o yail),
S^^o, S&^bip^ (revolution), SOTT-^O, &JJo, r^o, c3So (war), S&spd&o^)
(poison gas), ^^^5 a (machine gun), #x5sS i5o&, n-Sl^co, ^Bj^iCc^o, (workers'
^ '
paradise), ^s^KiSbSo, 5^3oaS>o (progress), ^oSoS'^tfjo (social justice)
'
(equality),
(struggle), trstfoa, ^^r-^oo, fiwxKo, So^% (conspiracy),
' O* v /
*&, aroojbrir-tfo (court), er^r^r^^ (police)
^' C/ C
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\
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(5)
202
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6^52O \
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4 '
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Duhring; The OJCJgin of the Family; Private Property and the State s^d ^ a.
6 Ref: A Dictionary of philosophy
7 Imperialism, the highest stage of Capitalism (1916) Materialism and Empirio-
Criticism (1908), The State and Revolution (1917) So a a '*
616
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of the peasants for the abolition of the feudal estates and a radical redistribution
of the land which belonged to the landowners.
A Dictionary of Philosophy,
9 A petty-bourgems sociopolitical trend that is hostile to all authority, including
the dictatorship of the proletariat, and counterposes the interests of petty
private ownership to the progress of society based on large-scale production.^...
The anarchists demand the immediate abolition of the state and donot admit
the possibility of using the bourgeois state to prepare the proletariat for
the revolution* A Dictionary of Philosophy.
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