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Language, Historical Shifts, Literary Responses, and Devices

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1. Changing language and registers in literature
What this means:
“Language and register” refers to the words, grammar, tone, and level of formality that writers use. Over time, literature began to include more kinds of real speech — not only high, formal language of nobles and scholars, but also the everyday speech of ordinary people: shopkeepers, factory workers, servants, and children.
Why it matters:
When writers include working-class speech, regional accents, slang, or dialect, they let readers hear the voices of ordinary people. This makes fiction more realistic and shows social differences more clearly. It also signals a change in whose stories are considered worth telling.
19th-century realism as an example:
  • Before the 19th century, many writers used elevated or literary language even when describing common people.
  • In the 19th century — as industrial cities grew and the middle and working classes changed social life — novelists began to record real speech. Authors like Charles Dickens, George Eliot, and Thomas Hardy put local accents, idioms, and everyday dialogue into their pages.
  • Dickens gives names, slang, and comic voices to characters in markets, courts, and slums. Hardy captures West Country dialect; the speech shows class and region. This helps readers understand how social class shaped language and identity.
2. Key historical shifts and the literary responses they produced
Below each shift I’ll explain the social change, then the kinds of literary responses that followed, and give clear examples you can assign or quote in class.
A. Feudal → Early Modern / Renaissance
Social shift:
  • Economy and life moved from largely rural, feudal structures (lords, vassals, serfs) toward growing towns, trade, and court life. Education and classical learning (humanism) returned from Italy and the continent.
Literary response:
  • Writers became interested in the individual human mind, feelings, choices, and moral complexity. They borrowed themes and forms from ancient Greek and Roman literature (tragedy, epic, lyric).
  • Shakespeare explores the private thoughts and psychological struggles of monarchs and lovers (Hamlet, Othello, Macbeth). Sonnets and lyric poems grow in importance as forms for expressing personal feeling.
B. Religious conflict & Reformation
Social shift:
  • The break with the Roman Catholic Church, Protestant reforms, and the resulting political and religious instability (e.g., conflicts over church authority, the role of the monarch, and conscience).
Literary response:
  • Writings became political and theological: sermons, pamphlets, polemical prose, and poetry engaged with questions of faith, authority, and conscience.
  • John Milton (e.g., Areopagitica, Paradise Lost) argues about liberty, conscience, and the right of free expression; his epic grapples with free will, obedience, and divine justice.
C. Enlightenment & 18th-century rationality
Social shift:
  • The rise of reason, science, the public sphere (coffeehouses, periodicals), and debates about human nature, progress, and governance.
Literary response:
  • Satire, essays, and the novel flourished. Writers used wit and reason to test social manners and moral ideas.
  • Alexander Pope and Jonathan Swift used satire to criticize human folly (The Rape of the Lock, Gulliver’s Travels). Addison & Steele used periodicals (The Spectator) to discuss manners and create a public conversation about taste and conduct. The novel developed as a form for exploring moral choices and social manners (Defoe, Richardson, Fielding).
D. Industrial Revolution & Victorian modernity
Social shift:
  • Rapid urbanisation, factory labour, new class divisions, child labour, and the expansion of the British Empire.
  • Literary response:
  • Realist novels document city life, conditions of the poor, legal systems, and industrial settings in minute detail. Many works have reformist impulses.
  • Charles Dickens dramatizes slums, orphanages, courts, and factories to provoke public sympathy and reform. Elizabeth Gaskell and others show the suffering and dignity of workers.
E. Romantic reaction
Social shift:
  • Pushback against industrial rationalism and mechanisation; a renewed interest in nature, emotion, and the individual imagination.
Literary response:
  • Poets like Wordsworth, Coleridge, Shelley, and Keats celebrated nature, feeling, and the imagination. They favored spontaneity and personal emotion over formal classical restraint.
F. Modernism (post-WWI)
Social shift:
  • World War I and its aftermath shattered many old beliefs: the certainty of progress, the authority of tradition. Psychology (Freud), urbanisation, and new technologies also changed life.
Literary response
  • Writers experimented with form to capture fragmentation and alienation: stream-of-consciousness, dislocated chronology, fragmented imagery.
  • James Joyce (Ulysses), Virginia Woolf (Mrs Dalloway), and T. S. Eliot (The Waste Land) rewrote narrative and poetic techniques to express modern disorientation and interior life.
G. Postcolonial & multicultural late 20th–21st c.
Social shift:
  • Decolonisation, migration, multicultural societies, and hybrid identities challenge single national narratives.
Literary response:
  • New writers from formerly colonised nations and diasporas write in English about displacement, identity, and the legacy of empire. Authors such as Salman Rushdie, Kazuo Ishiguro, Chimamanda Ngozi Adichie bring fresh perspectives on culture and language politics.
3. Literary devices that signal social change
Writers don’t announce social change bluntly; they show it through form, style, and device. Below are major devices and how they reveal historical shifts.
A. Realism
Detailed depiction of ordinary life, believable characters, and social types. Realism shows everyday problems, economic conditions, and social relationships.
Why it indicates change:
It reflects an interest in social facts — work, wages, family, institutions — and often aims to prompt readers to notice or reform social conditions.
B. Satire
Uses humour, irony, exaggeration, or ridicule to expose and criticise foolishness or corruption.
Why it indicates change:
Satire often emerges when public debate is lively (e.g., Enlightenment coffeehouses) and when writers feel social norms need critique.
C. Stream-of-consciousness / fragmentation
A narrative technique representing a character’s continuous flow of thoughts and sensations, or fragmented narrative that breaks chronological order.
Why it indicates change:
Shows inner confusion, psychological dislocation, or the breakdown of linear, stable meanings — often a response to trauma (like war) or rapid modern life.
D. Symbolism & allegory
Using symbols (objects, characters) to stand for larger ideas; allegory tells a story with a double meaning (literal + symbolic).
Why it indicates change:
Authors use allegory to encode political or social critique that may be dangerous to state openly (e.g., censorship, repression). Symbolism can express abstract social concerns (e.g., the wasteland for cultural exhaustion).
E. Dialect & colloquial speech
Use of regional accents, nonstandard grammar, or slang in dialogue.
Why it indicates change:
Signals inclusion of previously marginal voices, shows regional identity, class divisions, and cultural authenticity.

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About Me

Ashish Pithadiya
Hello! I am pleased to introduce myself (Ashish Pithadiya) as a lecturer at PNR Shah Mahila Arts and Commerce College, Palitana. I hold a Bachelor's and a Master's degree in English Literature, which makes me well-equipped to guide and mentor students in this subject area. As a visiting faculty member, I am committed to providing a stimulating and engaging learning experience for my students. I believe that literature has the power to transform individuals and society, and I am passionate about sharing this belief with my students. I strive to create a supportive and inclusive learning environment where students feel comfortable expressing their ideas and opinions.