Measure for Measure

                                 About author

William Shakespeare 26 April 1564 – 23 April 1616) was an English poet, playwright, and actor, widely regarded as the greatest writer in the English language and the world's pre-eminent dramatist^. He is often called England's national poet, and the "Bard of Avon".His extant works, including collaborations, consist of approximately 38 plays, 154 sonnets, two long narrative poems, and a few other verses, some of uncertain authorship. His plays have been translated into every major living language and are performed more often than those of any other playwright^.

                                   Plot Overview

Shakespeare's Measure for Measure centers around the fate of Claudio, who is arrested by Lord Angelo, the temporary leader of Vienna. Angelo is left in charge by the Duke, who pretends to leave town but instead dresses as a friar to observe the goings-on in his absence. Angelo is strict, moralistic, and unwavering in his decision-making; he decides that there is too much freedom in Vienna and takes it upon himself to rid the city of brothels and unlawful sexual activity. Laws against these behaviors and institutions already exist, and Angelo simply decides to enforce them more strictly. Claudio is arrested for impregnating Juliet, his lover, before they were married. Although they were engaged and their sexual intercourse was consensual, Claudio is sentenced to death in order to serve as an example to the other Viennese citizens.
Isabella, Claudio's sister, is about to enter a nunnery when her brother is arrested. She is unfailingly virtuous, religious, and chaste.

When she hears of her brother's arrest, she goes to Angelo to beg him for mercy. He refuses, but suggests that there might be some way to change his mind. When he propositions her, saying that he will let Claudio live if she agrees to have sexual intercourse with him, she is shocked and immediately refuses. Her brother agrees at first but then changes his mind. Isabella is left to contemplate a very important decision.

Isabella is, in a way, let off the hook when the Duke, dressed as a friar, intervenes. He tells her that Angelo's former lover, Mariana, was engaged to be married to him, but he abandoned her when she lost her dowry in a shipwreck. The Duke forms a plan by which Isabella will agree to have sex with the Angelo, but then Mariana will go in her place. The next morning, Angelo will pardon Claudio and be forced to marry Mariana according to the law.

Everything goes according to plan, except that Angelo does not pardon Claudio, fearing revenge. The provost and the Duke send him the head of a dead pirate, claiming that it belonged to Claudio, and Angelo believes that his orders were carried out. Isabella is told that her brother is dead, and that she should submit a complaint to the Duke, who is due to arrive shortly, accusing Angelo of immoral acts.

The Duke returns in his usual clothes, saying that he will hear all grievances immediately. Isabella tells her story, and the Duke pretends not to believe her. Eventually, the Duke reveals his dual identity, and everyone is forced to be honest. Angelo confesses to his misdeeds, Claudio is pardoned, and the Duke asks Isabella to marry him.

                                      Themes 

THEME OF JUSTICE AND JUDGMENT:

When a corrupt deputy sentences a man to death for the crime of fornication, Shakespeare asks us to consider whether or not morality can or should be legislated. On the one hand, the play warns that men and women don't necessarily have the right to pass judgment on their fellow human beings. At the same time, Measure for Measure suggests that a person who commits a crime (or sins), should be made to pay – either by making some sort of restitution or by suffering an amount that's commensurate with the suffering he or she has caused.
 
SEX

Sex is a big deal in this dark play and it's often associated with death, decay, and corruption. In Vienna, brothels are a dime a dozen, the spread of venereal disease is rampant, and the numbers of illegitimate children are on the rise (social problems that also plagued Shakespeare's London). Despite the fact that prostitution and fornication are illegal, it often seems like the entire city of Vienna is engaged in illicit sexual activity. While the play acknowledges that illegitimate children and pressing social concerns, Measure for Measure also questions whether or not the government should be involved in regulating sexuality.

MORALITY

Measure for Measure is a play obsessed with death, both physical and spiritual. On the subject of mortality, Claudio delivers one of the greatest speeches in all of Shakespeare (one that many critics think rivals Hamlet's famous "To be, or not to be" soliloquy). For many characters, death goes hand in hand with sex and marriage. At other times, the play's view of mortality is more flippant than serious, as when Barnardine insists he's too hungover to be executed and when Pompey declares that a good hanging is the best cure for a hangover. 

 MARRIAGE

As we know, all Shakespearean comedies work their way toward endings that culminate in one or more marriages. This is also true of Measure for Measure, but, in this play, marriage doesn't necessarily bring about a happily ever after. For many characters, marriage is a form of punishment (literally and figuratively). For others, it's a fate worse than torture or death, making Measure one of the most cynical plays about the nature of marriage.

RELIGION

The play dramatizes Christian doctrine in a prominent, in-your-face kind of way. In particular, Shakespeare invokes the concepts of sin, atonement, judgment, and mercy. The title, Measure for Measure, comes from the Gospel of Matthew and this biblical passage also informs the main plot, in which a hypocritical deputy sentences a man to death for having sex with his fiancé and then turns around and propositions a young woman. The play also features a Duke who spends most of his time disguised as a holy friar, a novice nun obsessed with virginity, and man whose harsh and judgmental attitude resembles that of the sixteenth-century English Puritans.

GENDER

In Measure for Measure, three major female characters have speaking roles: a prostitute who's arrested for running a brothel, a wannabe nun who's blackmailed by a corrupt deputy, and a woman who's jilted for not having a large enough wedding dowry. In the play, Shakespeare creates limited roles for these figures, prompting the audience to consider more generally a woman's place in society. Although these characters inhabit vastly different spaces in the social spectrum, they all have one thing in common – each is a victim of patriarchal authority. 


Cites:
http://www.sparknotes.com/shakespeare/measure/summary.html
https://www.google.co.in/search?q=Measure+for+measure&client=ubuntu&channel=fs&source=lnms&tbm=isch&sa=X&ved=0ahUKEwjz-c6z19_SAhWHRY8KHRPOAp0Q_AUIBygC&biw=1319&bih=673#imgrc=HllL4PlfWar0TM:

http://www.sparknotes.com/shakespeare/measure/summary.html

       

                     Samson Agonistes

                              Author 

John Milton (9 December 1608 – 8 November 1674) was an English poet, polemicist, man of letters, and civil servant for the Commonwealth of England under Oliver Cromwell. He wrote at a time of religious flux and political upheaval, and is best known for his epic poem Paradise Lost (1667), written in blank verse.
Milton's poetry and prose reflect deep personal convictions, a passion for freedom and self-determination, and the urgent issues and political turbulence of his day. Writing in English, Latin, Greek, and Italian, he achieved international renown within his lifetime, and his celebrated Areopagitica (1644)—written in condemnation of pre-publication censorship—is among history's most influential and impassioned defences of free speech and freedom of the press.

         Plot Overview of Samson Agonistes

It's a holiday for the Philistines when our poem opens, and this means that their Hebrew prisoner, Samson, gets a day off from the grueling labor he's usually forced to do. But he just can't relax. Instead, he obsesses over the various mistakes he's made in his life that have gotten him to this low point. Also, we learn that he's blind and that he feels he's betrayed his religion and his people.
Well, we're off to a good start!
In comes the Chorus, a group of his Hebrew friends. They try to be helpful, but they don't really have the lingo down and Samson seems to become more and more miserable. Then Manoa, Samson's father, shows up. He wants to negotiate with the Philistine authorities to secure Samson's release, but no dice. Samson feels that he deserves to be in prison. Hey, you can't stop a dad from trying—and off he goes to do just that.
Shortly after his dad departs, Samson's infamous Philistine ex-wife Dalila pays a visit. We learn that she's the reason Samson is in prison: she betrayed the secret that his amazing strength depends on his having a flowing, luscious locks. She told her people, they cut his hair, arrested him, blinded him... and here he is in prison. But she's here to apologize and explain.
Obviously, Samson is completely uninterested in hearing her excuses and says lots of insulting things to her. She leaves in a fury, with this parting shot: she's now a hero among her people.
Last but definitely not least is the Philistine giant Harapha, who says he's just come by to check out this famous Samson. He also says that he wishes Samson were in better physical condition so they could fight it out and see who's strongest. Samson is totally down, but Harapha won't fight a blind guy. They trash-talk for a while, and then Harapha leaves in a huff. Harumpha!
Just then, a messenger arrives with the order for Samson to come perform in a Philistine festival. Uh, no thanks, Samson says—and then thinks better of it, saying he has had this vague but powerful feeling that he's meant to go and perform some great deed. Off he trots, just missing his father, who's back with good news that he successfully bribed some Philistine leaders and can now take Samson home.
Uh-oh. We're starting to get a bad feeling about this—and we're right. Just as the Chorus is about to celebrate this good news, they hear a horrible shriek. Another messenger runs in and reports that Samson has killed both himself and the entire Philistine elite by toppling the roof of the theater.
The Chorus and Manoa alternate between being super sad over the death of Samson and super happy that their enemy has been defeated. In the end, they go off to look for Samson's body and Manoa promises he's going to build Samson an awesome tomb. And thus ends Samson.

                                 Themes 

RELIGION

Shock! Samson Agonistes is obsessed with religion. Okay, now that you've recovered from that mind-blowing announcement, let's check out exactly how this theme gets deployed: lots of talk about God; pretty much everyone spends their time talking about religion; and, oh yeah, it's based on a Biblical story. But religion isn't just a superficial spackling. Milton is asking some serious questions here: What's the right way to be religious? What's the right religion? How can religion or the divine help you understand what right and wrong are? We think it's proof of just how serious Samson Agonistes is about religion that it doesn't offer any easy answers to these big questions. Instead, it just puts them out there for you to decide

SUFFERING

Here's another no-brainer: opening with lines that describe our protagonist as both blind and imprisoned, it's pretty obviously that Samson Agonistes is about suffering. But just in case you need convincing, the poem spends most of its time listening to various characters describing suffering: the who, what, where, when, and, oh yeah, why. Each of the various visitors Samson talks with offers a different perspective on Samson's suffering and their own.

GUILT AND BLAME

No one wins the blame game. But, if there's one thing that seems to unite every character in Samson Agonistes, it's that they're all trying to blame someone else for the situation they're in. Even though Samson admits he's most at fault many times during the poem, he's also pretty good at pointing fingers at other people: Dalila, the Hebrew leaders... sometimes he even seems to be blaming God. There's obviously a lot of guilt and blame to go around in this story, and the bigger question isn't who's at fault, but why it even matters.

STRENGTH AND SKILL

It's a bird, it's a plane... it's Samson! Okay, you got us: he's not actually Superman, but from the way some of the characters describe Samson's previous mojo, he's not so far off. Saving his people, conquering enemies, fighting while totally outnumbered—Samson definitely was strong and skilled. Unsurprisingly then, a big preoccupation of Samson Agonistes is: what happened? The question isn't just literally how Samson lost his strength and wound up in prison, but also whether the fact that it did happen means Samson never was truly either of these things.

 

FATE AND FREE WILL

If we could only take one fact about tragedies to our desert island (don't ask), it would probably be—you can't escape fate. In Greek mythology, the concept of fate was personified by a trio of goddesses, and suggested that all people have a certain destiny that must be fulfilled. Essentially: no free will. Now, this whole fate/free will thing gets very (very) complicated for Christianity. Was Eve fated to eat that apple? If so, what does that say about God? Can we do anything to help our salvation, or are we just born saved or damned? For Samson Agonistes, the important thing is that Samson can't decide whether everything he does is fulfilling God's destiny for him (a kind of Christian version of fate) or whether he has total control over himself. 

MARRIAGE

Sadly for Samson, something that might have been one happy part of his life turned out to be the absolute worst. disaster. ever. (Fun fact: Milton was drawing on personal experience here. He was one of the first people to make a Biblical argument for divorce.) Both of Samson's marriages to Philistine women end with betrayal, raising questions not only about marital fidelity, but also about fidelity to one's nation or people. In fact, it's a kind of uncommon and interesting aspect of Milton's writings that he so often focuses not simply on the passions of romantic love and sex, a typical topic of literature, but equally on the complexities of marriage as a personal and social contract. In Samson Agonistes, marriage is as much a political act as a private act.

                  Murder in Cathedral

                       Author of the drama:

Thomas Stearns Eliot (26 September 1888 – 4 January 1965) was a British essayist, publisher, playwright, literary and social critic, and "one of the twentieth century's major poets".He moved from his native United States to England in 1914 at the age of 25, settling, working, and marrying there. He was eventually naturalised as a British Subject in 1927 at the age of 39, renouncing his American citizenship.

                           Plot Overview

The women of Canterbury are drawn to the cathedral, knowing instinctively that they are drawn there by danger. There is no safety anywhere, but they have to bear witness. Archbishop Thomas Becket has been gone seven years. He had always been kind to his people, but he should not return. During the periods when the king and the barons ruled alternately, the poor had suffered all kinds of oppression. Like common people everywhere, the women had tried to keep their households in order and to escape the notice of the various rulers. Now they could only wait and witness.

The priests of the cathedral are well aware of the coming struggle for power. The archbishop has been intriguing in France, where he has enlisted the aid of the pope. Henry of Anjou is a stubborn king, however. The priests know that the strong rule by force, the weak by caprice. The only law is that of seizing power and holding it.

A herald announces that the archbishop is nearing the city and that they are to prepare at once for his coming. Anxiously, they ask whether there will be peace or war, whether the archbishop and the king have been reconciled or not. The herald is of the opinion that there had been only a hasty compromise. He does not know that when the archbishop had parted from the king, the prelate had said that King Henry would not see him again in this life.

After the herald leaves, one priest expresses the pessimism felt by all. When Thomas Becket was chancellor and in temporal power, courtiers flattered and fawned over him, but even then he had felt insecure. Either the king should have been stronger or Thomas weaker. For a time, the priests are hopeful that when Thomas returns he will lead them. The women think the archbishop should return to France. He would remain their spiritual leader, but in France he would be safe. As the priests start to drive out the women, the archbishop arrives and asks them to remain. Thomas Becket tells his priests of the difficulties he has encountered, and that rebellious bishops and the barons had sworn to have his head. They sent spies to him and intercepted his letters. At Sandwich, he had barely escaped with his life.

The first tempter arrives to talk with Thomas. When he was chancellor, Thomas had known worldly pleasure and worldly success. Many had been his friends, and at that time he knew how to let friendship dictate over principles. To escape his present hard fate, he needs only to relax his severity and dignity, to be friendly, and to overlook disagreeable principles. Thomas has the strength to give the tempter a strong refusal.

The second tempter reminds Thomas of his temporal power as chancellor. He could be chancellor again and have lasting power. It is well known that the king only commands, whereas the chancellor rules. Power is an attribute of the present; holiness is more useful after death. Real power has to be purchased by wise submission, and his present spiritual authority leads only to death. Thomas asks about rebellious bishops whom he had excommunicated and barons whose privileges he had curtailed. The tempter is confident that these dissidents will come to heel if Thomas were chancellor with the king’s power behind him. Again, Thomas has the strength to say no.

The third tempter is even easier to deal with. He represents a clique intent on overthrowing the throne. If Thomas will lead them, they can make the power of the Church supreme. No more will the barons as well as the bishops be ruled by a king. Thomas declines the offer to lead the malcontents.

The fourth tempter is unexpected. He shows Thomas how he can have eternal glory. As plain archbishop, the time will come when men will neither respect nor hate him; he will become a fact of history. So it is with temporal power, too: King succeeds king as the wheel of time turns. Shrines are pillaged and thrones totter. If, however, Thomas continues in his present course, he will become a martyr and a saint, to dwell forevermore in the presence of God. The archbishop faces a dilemma. No matter whether he acts or suffers, he will sin against his religion.
Early on Christmas morning, Thomas preaches a sermon on peace, saying that Christ left people his peace but not peace as the world thinks of it. Spiritual peace does not necessarily mean political peace between England and other countries or between the barons and the king.

After Christmas, four knights come to Canterbury on urgent business. Refusing all hospitality, they begin to cite charges against Thomas, saying that he owes all his influence to the king, that he has been ignobly born, and that his eminence is due solely to King Henry’s favor. The knights try to attack Thomas, but the priests and attendants interpose themselves.

The charges are publicly amplified. Thomas had gone to France to stir up trouble in the dominion and to intrigue with the king of France and the pope. In his charity, King Henry had permitted Thomas to return to his see, but Thomas had repaid that charity by excommunicating the bishops who had crowned the young prince; hence the legality of the coronation is in doubt. The knights then pronounce his sentence: He and his retinue must leave English soil.

Thomas answers firmly. In France he had been a beggar of foreign charity; he would never leave England again. He had no dislike for the prince; rather, he had only carried out the pope’s orders in excommunicating the bishops. These words availed little. In the cathedral proper, the knights fall on Thomas Becket and slay him.

The knights justify the slaying. It may have looked like four against one, an offense against the English belief in fair play, but before deciding, the people should know the whole story. First, the four knights would not benefit from the murder, for the king, for reasons of state, would deplore the incident, and the knights would be banished.

Second, the king had hoped, in elevating Thomas to the archbishopric, to unite temporal and spiritual rule and to bring order to a troubled kingdom; but as soon as Thomas was elevated, he had become more priestly than the priests and refused to follow the king’s orders. Third, he had become an egotistical madman. There is evidence that before leaving France he had clearly prophesied his death in England and he had been determined to suffer a martyr’s fate. In the face of this provocation, the people must conclude that Thomas had committed suicide while of unsound mind. After the knights leave, the priests and populace mourn. Their only solace is that so long as people will die for faith, the Church will be supreme.

                            Themes of the drama:

Martyrdom

One of the most explicit philosophies Eliot explores is what constitutes a true Christian martyr. As Thomas explains in his Interlude sermon, a martyr is not merely one who dies for God, but rather one who allows himself to be "the instrument of God" (199). He argues that a martyr is not made by accident, but rather by God's will. Thomas's journey in Part I is marked by his acceptance that he wants to seek martyrdom for the sake of his pride and worldly glory, and his subsequent willingness to rid himself of those desires and to die solely for God's cause. Further, the play explores martyrdom in terms of how it impacts the true believers who come afterward. The chorus must come to terms with the fact that a martyr's death saddles them with a burden to validate the sacrifice through their own lives. In many ways, a true martyr must die as Christ did – because God wills it – and those Christians who follow are expected to subsume their own lives in service of God for that reason.

                           Time

The question of time runs throughout the entire play and informs the theology behind Thomas's recognition of his role as a martyr. Time is presented as an earthly, human concern in the play. Time leads humans to think of events in terms of cause and effect, and to therefore make decisions on the basis of efficiency and outcome. However, to consider anything from this perspective allows a person to justify his actions, so that the distinction between good and evil is blurred. Thomas considers that his decision – to willingly submit himself to be an instrument of God's will – is a decision made outside of time. It is not made for its effect, and in fact cannot be understood by any human, since no human can understand God. Thomas suggests that from God's perspective, the limitations of time do not apply. The play proposes that humans are tormented by the difficulties and complications that time puts upon us, whereas ridding ourselves of our personalities in order to be God's instruments allows us to transcend those limitations.

                         The wheel

"The wheel" was a common image in medieval theology and helps us to understand the ideas at work in [Murder in the Cathedral]. Associated primarily with the medieval thinker Boethius, the wheel image posits that God sits at the center of a large wheel, and hence understands the system behind its rotations. Humans, who live at various places along the edge of the wheel, are confounded by those rotations and cannot glimpse the order behind them. Thus, serenity comes in accepting that we can never understand the workings of the universe and should instead endeavor to transcend our humanity so as to deserve God's protection after death.
Thomas enters the play prepared to seek martyrdom for earthly reasons, but learns that he must simply submit himself to God's control. In effect, he has to rid himself of his earthly ambitions because they are necessarily flawed. Those ambitions cannot possibly take the universe into account. One of the lessons Thomas learns – and which he teaches the Chorus through his example – is that our lives of suffering and difficulty are illusions that we overvalue. We can never understand them, and so we should not dwell on them. Instead, we should focus on pleasing God, in faith that he knows why and how the wheel turns, and will reward us for our faith in a way we could never reward ourselves because of our limited perspectives.

                            Politics

liot aimed to craft a play built around ritual rather than around human psychology, and yet the story of Thomas Becket is too heavily political to support a solely theological framework. Politics are present throughout the play, from the exposition given by the priests before Becket arrives to the arguments the knights make to Thomas and directly to the audience. To some extent, these political elements are there to round out the story, to give an informed audience its expected details. However, the political arguments also represent the aspect of Thomas's personality that he must overcome in order to be worthy of true martyrdom. By acknowledging Thomas's political nature and past, Eliot endows him with a palpable quality that the audience will see him overcome. He wishes to be God's instrument, and so refuses to concern himself with political questions. Interestingly, Thomas cannot help himself from engaging in some political banter with the knights in Part II, which suggests that no person can ever fully rid himself of his personality; he can only endeavor to do so up to the limits of his humanity.

In terms of the chorus, the complicated politics stand in stark contrast to the reality of their everyday lives. They are interested in political issues only insofar as they complicate the suffering of their daily toil. By emphasizing the chorus so strongly in the midst of such a political story, Eliot implicitly suggests that the nuances of politics are less valuable and spiritual than the community of Christians who attempt to please God through their simple, everyday lives.

                        Suffering

"Suffering" in the play has two meanings. In its most common usage, suffering means "to undergo pain or distress." The horrific imagery of the chorus's speeches, as well as the detail they give about their daily toil, stresses how much suffering they undergo. Because of this suffering, they wish mostly be left alone. Eliot's ultimate message, of course, is that for true spiritual fulfillment, we must not simply retreat into our earthly suffering, but rather overcome it and devote ourselves to serving as God's instruments. However, the extent to which he presents extreme suffering as a fact of life certainly informs the play's messages.
"Suffering" is also manifest through the dichotomy Thomas presents between "action" and "suffering." In this context, suffering is best defined in terms of patience and waiting. From this definition, the theme is less about overcoming physical distress and more about remaining patient in the face of worldly events that we cannot understand. Thomas suggests that some people act to change their fates, while some simply wait to see what happens. His perfect middle road is an active patience, an active choice to be submissive before God's will.

It Started With Friend Request

    The first romance I read of Sudeep Nagarkar.

 When I read the title I was attracted to read the book. The romance of modern generation which have problems of youth.

    Here the writer has not described love only but also some of our dreams like boy entered in girls hostel, late night out, chat and romance, thrust of love etc. The most important thing is the romance have suspense. When it reveal at the end readers may got crazy.

    From the beginning we find love is in the center. Commercial world is also described here. The real face behind beautiful mask is unmasked by writer.

    Just like most of the romance here it also have happy ending and we expect happy ending everywhere. The language of the novel is very easy and the writer has power to portrayed the word picture. The characters of the novel are some of us of reality. We feel that they are living in us and a true picture of our society represented here.

  This can be consider as suspense thriller with such a romantic frame. In the world of web and social media many people got their life partner which may be never thought by any earlier great writers. 

When Someone Likes You

    Duurjoy Datta is one of the name in Indian literature of modern time. He writes romance with different treatment but his way of portraying love won the heart of readers. 

    "When someone likes you" is the novel a true romance a pure Romance and a sweet Romance. When the story begins it was started with the two sister one is studying in Delhi and then her younger sister come to the Delhiat the time she totally reform by her elder sister. she was avarage looking, just like Indian village girl but her sister reformed her.

    As we all have dream of our college life she also had so many dreams about college life and it's all turn true. she got a very crazy friends like her. She fell in love with but he was not the person to be fall in love with him.

    This is not only a story of romance but it is the story of Friendship there are three friends were just like each other, they help each other a lot and always stand with in any condition. One of them guy is a very sweet and cute he has a very Helping Nature and always help everyone but one day you drink and meet an accident it was horrible he was dead.

    The college life is looking very pleasant but when we enter in college we realise the harsh realities. Society is just like this because we find that the life of everyone is very pleasant but it has many problems which may not appeared easily. Today's generation have love in center at young age and some times they found in problem because of wrong choice of the partner.

    The language of the novel is very easy and Duurjoy Datta has won the heart of readers through such a romance.

My E-note on parallel cinema

While I have attended the workshop i have written some of the points in my e-notes.Which become helpful to me now. I still remember everything through  those simple notes. And I like to share.

    "Part of DRS programme. Jayant Dasguota - part of India from various parts. How images work.

     Not only from the literary perspective but also with other perspectives. Level of street ,level of district,it always puzzle to make difference between popular cinema,talkies,art film and parallel cinema. Long tradition and long history which may go a long ago like hundred years. Movies like short films also. The beauty of Indian movies is we have films not in one language but in large number of languages. It's about parallel cinema as movement.
      There is absolutely no difference for producer in box office,parallel cinema and art cinema. Parallel =Art.
      Films is means of mind of people. It's about social culture, social problems etc. Parallel cinema talk about social class ,backward class, poor people, politics, rural area, industrial development, change,transformation, progress etc.
      Indian cinema is something like Indian stories to Indian people. When bad guy reveal the end it's become like "chidiya khana".  Cinema of Satyajit Ray are not always worthy to discuss but it's something like his popularity. We all new the story of Ramayana but Satyajit Ray have tried to show it to people with audio visual medium. Example of first film Raja Harishchandra. Cinema is middle-class man. Get to back to your roots, stories, values, culture described by Dadasaheb Falke. The  another describe revolution, rural problem, untouchability, etc.
        Achhut kanya and Hunter vali are totally opposite from each other but both are very popular. "Not Quite pearl White" article talk about girl actor. If you want to read reality u need to stay away from reality. When train is coming the director laugh a lot says that one machine is looking at another machine.
       Technology made the film effective. The emotions of characters are always depend of technology., The camera,the music, the machines etc.
     

World's Best Boyfriend

Durjoy Datta is one of my favorite hero of romance when I read his book I feel that he is  really master of  creating the romantic novel. Most of his fictions are on love theme. Some of the time it is story of college Life, Some of the time it is story of doctor and patient, and some of the time it is a story of a blind person. But most of his romance have sweet and cute couples.

    "World's best boyfriend" is one of my favorite story here the characters special is the girl he is not very much beautiful. she is has Pale skin and ugly looking. Even she is also very fat but  I attract because  the girl is really very smart, very intellectual as well as very powerful.

She had suffered a lot in her family and even some of the time she was insulted by her own family. She fall in love with little boy in her young age. Later on she meets him in college again.

     They are not friends and they are not enemy. fighting a lot with each other and  use to insult Each Other. That never miss a chance to insult each other. But once again the fall in love.

     In our society beauty is always connected with skin not with the brain but here to show that has broken this old frame of the beauty. Some of the time people choose to have a brain rather than beautiful skin.

     The novel criticize those in our society who were judging Girl by the beauty. We avoid that intellectuality and not realising  skill just because of the skin.

     The novel have romantic appeal as well as a satire on our concept of beauty. Our broken family, difference in girl and boy child, victim and also the true definition of love. This define the present time of Indian urban life.