Sunday, December 26, 2021

“You and the Atom Bomb” by George Orwell summary, British Literature - III, 2nd Year 3rd Semester, B.A English Literature

 

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BA English Literature

[2nd Year, 3rd Semester]

British Literature 

2.4. “You and the Atom Bomb” by George Orwell

About Author:

Eric Arthur Blair known by his pen name George Orwell, was an English novelist, essayist, journalist and critic. Best known for his novels Animal Farm (1945), the anti-utopian novel and Nineteen Eighty-Four (1949), a chilling warning against totalitarianism.

Born in Bengal, India, in 1903 and died of tuberculosis in London, England  in 1950.

His first book, Down and Out in Paris and London (1933) was based on his experiences after he left the police.

About Prose:

It was originally published by the Tribune on October 19, 1945 within two months after atomic bombs were dropped over Hiroshima and Nagasaki, Japan by the only country ever to have used them to kill people and destroy cities, viz., the U.S.A. In addition, it was clear that the groundwork for his novel, ‘1984’ had been completed by this writing. It was reprinted as ‘The Collected Essays, Journalism and Letters of George Orwell’ in 1968.

Its fame arises from Orwell’s coinage of a new term for the permanent standoff the bomb would foster between two great powers, the United States and the Soviet Union: the “cold war.”

Summary:

       “You and the Atomic Bomb” essay highlights the devastating power of the Atomic Bomb and discusses how it could change the balance of power and the future course of humanity.

Orwell considers it a threat to world peace and order. Even if the bomb could not be mass-manufactured, its possession merely was a major threat and for whatever end they used it, the loss was always going to be double.

The idea of the atomic bomb was devastating in the sense that whether it was for war or to extract peace, it was going to make humanity suffer in every way.  In a way, he highlights that the destructive power of the Atom Bomb had been miscalculated and misunderstood.

Orwell notes that the information and diagrams the newspapers had published including that of protons and neutrons and how atomic bombs worked were of no meaning to the common man. There had been a lot of useless reiteration of the same statement that the atomic bomb instead of being under the control of a nation must be controlled by an international body. However, the one question media and others had purposefully avoided was that how easy or difficult it was to make these bombs.

Orwell notes that governments and media were raising questions unrelated to the main topic. The public was either misguided or confused over the topic and this could cause more fear and confusion. Whatever little information people had was by virtue of President Truman’s decision to keep secrets from USSR.

Some months earlier than America dropped the bomb on Japan, there were rumors that physicists had split the atom and a devastating weapon was soon going to be within every nation’s reach. People thought it would be easy to produce one and some lunatic could blow the entire civilization any time and then have a laugh in some lonely corner as if he had lit off fireworks.

Truman said that producing the bomb was an expensive affair and very few nations in the world were capable of making it. Orwell notes that this is the most important point because, in this manner instead of changing the course of history, the weapon was only going to add momentum to the dangerous trends that had been growing intense for the last dozen years.

Another important problem that Orwell highlights in his work is that the atomic bomb was never going to empower the people. He cites examples from history where simple weapons have empowered the weak but the more complex weapons have mainly helped the strong. He cites the connection between the discovery of gunpowder and the overthrow of feudalism by the bourgeoisie.

Common people get a chance when the dominant weapon is simple. In this way, the modern weapons of warfare like planes, bombs, and airplanes are fundamentally tyrannical whereas crossbows and muskets are fundamentally democratic. So while the making of the atom bomb meant the emergence of new loci of power, it also meant control leaving the hands of the common people. The increased power of the states has decreased the control common man held in the state of affairs and his ability to wage a war for his freedom.       

When James Burnham wrote The Managerial Revolution it seemed probable to many Americans that the Germans would win the European end of the war, and it was therefore natural to assume that Germany and not Russia would dominate the Eurasian land mass, while Japan would remain master of East Asia. This was a miscalculation, but it does not affect the main argument.

For forty or fifty years past, Mr. H. G. Wells and others have been warning us that man is in danger of destroying himself with his own weapons, leaving the ants or some other gregarious species to take over.

Orwell further clarifies in the next paragraph, advanced military technology took power and control from people’s hands to the hands of state and government. It always left people with no power and control. Before the recent advances in military technology, things were simple and people used simple weapons to wage a war for freedom against their oppressors.

The atomic bomb may complete the process by robbing the exploited classes and peoples of all power to revolt, and at the same time putting the possessors of the bomb on a basis of military equality.

        Increased efficiency of the military structure has always given people less space to mind their affairs freely. “Peace that is no peace”

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Easter 1916 by W.B. Yeats poem line by line explanation, British Literature - III, 2nd Year 3rd Semester, B.A English Literature

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B.A English Literature

[2nd Year, 3rd Semester]

British Literature 

1.4. Easter 1916 by W.B. Yeats

About Poet:

William Butler Yeats, (born on June 13, 1865 in Dublin, Ireland and died on January 28, 1939 in France), Irish poet, dramatist, and prose writer. He was appointed to the Irish Senate in 1922. He received the Nobel Prize for Literature in 1923.

His first volume of verse appeared in 1887. Together with Lady Gregory he founded the Irish Theatre, which was to become the Abbey Theatre.

His poetry, especially the volumes The Wild Swans at Coole (1919), The Tower (1928), The Winding Stair and Other Poems (1933), and Last Poems and Plays (1940), made him one of the outstanding and most influential twentieth-century poets writing in English.

        His recurrent themes are the contrast of art and life, masks, cyclical theories of life (the symbol of the winding stairs), and the ideal of beauty and ceremony contrasting with the hubbub of modern life.

About Poem:

"Easter, 1916," was written by the Irish poet W.B. Yeats to commemorate the Easter Rising in 1916, in which Irish nationalists led a rebellion to win independence from British rule.

The poem is divided into four stanzas, symbolizing the month of April, the fourth month. It is known for its famous refrain, “All changed, changed utterly:  A terrible beauty is born.”

Historical Background:

On Easter Monday, April 24, 1916, a group of Irish nationalists proclaimed the establishment of the Irish Republic and, along with some 1,600 followers, staged a rebellion against the British government in Ireland. The rebels seized prominent buildings in Dublin and clashed with British troops. The Rising is over on April 29th, 1916 - 1,350 people lie dead or wounded. A total of 3,430 men and 79 women are arrested by the British. Easter, 1916 is a reflection on this event.

Poem:

I have met them at close of day  

Coming with vivid faces

From counter or desk among grey  

Eighteenth-century houses.

I have passed with a nod of the head  

Or polite meaningless words,  

Or have lingered awhile and said  

Polite meaningless words,

And thought before I had done  

Of a mocking tale or a gibe  

To please a companion

Around the fire at the club,  

Being certain that they and I  

But lived where motley is worn:  

All changed, changed utterly:  

A terrible beauty is born.

 

That woman's days were spent  

In ignorant good-will,

Her nights in argument

Until her voice grew shrill.

What voice more sweet than hers  

When, young and beautiful,  

She rode to harriers?

This man had kept a school  

And rode our wingèd horse;  

This other his helper and friend  

Was coming into his force;

He might have won fame in the end,  

So sensitive his nature seemed,  

So daring and sweet his thought.

This other man I had dreamed

A drunken, vainglorious lout.

He had done most bitter wrong

To some who are near my heart,  

Yet I number him in the song;

He, too, has resigned his part

In the casual comedy;

He, too, has been changed in his turn,  

Transformed utterly:

A terrible beauty is born.

 

Hearts with one purpose alone  

Through summer and winter seem  

Enchanted to a stone

To trouble the living stream.

The horse that comes from the road,  

The rider, the birds that range  

From cloud to tumbling cloud,  

Minute by minute they change;  

A shadow of cloud on the stream  

Changes minute by minute;  

A horse-hoof slides on the brim,  

And a horse plashes within it;  

The long-legged moor-hens dive,  

And hens to moor-cocks call;  

Minute by minute they live:  

The stone's in the midst of all.

 

Too long a sacrifice

Can make a stone of the heart.  

O when may it suffice?

That is Heaven's part, our part  

To murmur name upon name,  

As a mother names her child  

When sleep at last has come  

On limbs that had run wild.  

What is it but nightfall?

No, no, not night but death;  

Was it needless death after all?

For England may keep faith  

For all that is done and said.  

We know their dream; enough

To know they dreamed and are dead;  

And what if excess of love  

Bewildered them till they died?  

I write it out in a verse—

MacDonagh and MacBride  

And Connolly and Pearse

Now and in time to be,

Wherever green is worn,

Are changed, changed utterly:  

A terrible beauty is born.

 

Summary:

In the poem ‘Easter 1916’, Yeats was working through his feelings about the revolutionary movement. The persistent refrain that ‘a terrible beauty is born’ turned out to be predictive. The execution of the leaders of the Easter Rising by the British had the opposite effect to what the British had intended. The brutal killings led to a reinvigoration of the Irish Republican movement rather than its dissipation.

The poem sets out by showing the initial ideological distance between Yeats and some of the revolutionary figures. Prior to the rising, the poet would only exchange ‘polite meaningless words’ with the revolutionaries. He would even indulge in ‘a mocking tale or gibe’ about their political ambitions. However, this attitude changes with time, as he can now see how:

All changed, changed utterly:

A terrible beauty is born.

In the second stanza, the poet proceeds to describe in greater detail the key figures involved in the Easter uprising. But, he only alludes to them without actually listing their names. This stanza also shows how Yeats was able to separate his private feelings towards some of the revolutionary figures from the greater nationalist cause that the group was pursuing. While Yeats had a positive regard for some of these republican leaders, he despised Major John MacBride, who as the estranged husband of Maud Gonne had abused both Gonne and their daughter during their married life. Although Yeats considered MacBride to be a ‘vainglorious lout’ who had ‘done most bitter wrong’ to Maud Gonne, who was once close to Yeats’ heart, he includes him in his eulogy among those who have fallen for their republican ideals.

The third stanza of the poem differs from the first two stanzas by abandoning the first-person narrative of ‘I’ and moving to the natural realm of streams, clouds, and birds. The poet elaborates on the theme of change and introduces the symbol of the ‘stone’, which opens and closes the stanza. The images of clouds moving, seasons changing, horse-hoof sliding are all characterized by their transience. Amid them, the stone is a symbol of permanence and enduring strength. Yeats compares the fixedness of the revolutionaries’ purpose to that of the stone. He feels that their hearts are ‘enchanted to a stone’. The stone disturbs or ‘troubles’ ‘the living stream’, a metaphor for how the steadfastness of their purpose contrasts sharply with the shifting moods of the common people. The singularity of their purpose, leading to their ultimate death, cut through the complacency and indifference of everyday Irish society of the time.

The fourth and last stanza of the poem resumes the first person narrative of the first and second stanzas. The stanza returns to the image of the stony heart: ‘Too long a sacrifice/ Can make a stone of the heart’, Yeats wrote, putting the determined struggle of Irish republicans in the Easter Rising in the context of the long, turbulent history of British colonialism in Ireland, as well as alluding to the immense psychological costs of the long struggle for independence. Indeed, the poet cries, ‘O when may it suffice?’, and answering his own question with the line, ‘That is heaven’s part’ (making an allusion to Shakespeare's play ‘Hamlet’ – the parallel line occurs in Act I, scene V, regarding Gertrude's guilt: ‘Against thy mother aught: leave her to heaven’). In Yeats’ schema, Heaven’s role is to determine when the suffering will end and when the sacrifices are considered sufficient; whilst the role of the people left behind is to forever remember the names of those who had fallen in order to properly lay their wandering spirits to rest: ‘our part/ To murmur name upon name,/ as a mother names her child/ when sleep at last has come/ On limbs that had run wild.’

In the second half of the last stanza, the poet wonders whether the sacrifices were indeed warranted: ‘Was it needless death after all?’, contemplating the possibility that the British might still allow the ‘Home Rule Act 1914’ to come into force without the uprising. However, Yeats made the point that what’s done was done. All that is important is to remember the revolutionaries’ dream and carry on: ‘We know their dream; enough/ To know they dreamed and are dead.’ There is no point arguing over whether these revolutionaries should or should not have acted so rashly for their cause as they did.

In the end, the Yeats resigns to commemorating the names of those fallen revolutionary figures, viz. Thomas MacDonagh, John MacBride, James Connolly and Patrick Pearse, as eternal heroes of the Irish Republican movement (symbolised by the colour green), with Yeats adapting the final refrain to reflect the price these people paid to change the course of Irish history:

I write it out in a verse –

MacDonagh and MacBride

And Connolly and Pearse

Now and in time to be,

Wherever green is worn,

Are changed, changed utterly:

A terrible beauty is born.

The extent to which Yeats was willing to eulogize the members of the Easter Rising can be seen in his usage of ‘green’ to commemorate these heroes, even though he generally abhors the use of the colour green as a political symbol (Yeats's abhorrence was such that he forbade green as the color of the binding of his books). In commemorating the names of the revolutionaries in eloquent lamentation in the final stanza, including even his love rival Major John MacBride, Yeats reconciled his personal private sentiments towards some of the individuals involved with the larger nationalist sentiments upheld and championed by the poem, even if there were revolutionaries whose strategies he did not fully agree with. Yeats has an interesting perspective on the historical significance of his poem, adding to the tension of his recording. The revolutionaries ‘now and in time to be...are changed, changed utterly’ – the knowledge of which shows Yeats’ astute insight into the historical importance of his poetic memorial of these revolutionary figures.

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