Takeaway Quotable Quotes ‘Whether or not you write well, write bravely. Write without fear and edit without mercy’ and quintessentially Hogwarts would have been alluring and enticing as the epitaph of Hagrid, ‘Hagrid has been known to befriend giant spiders, buys vicious three-headed dogs from men in pubs and sneaks illegal dragon eggs into his chamber’. Bernard Shaw’s heartfelt lines ‘The theatre should be a factory of thought, promoter of conscience, elucidator of social conduct, armoury against dullness and despair and a temple to the ascent of man.  and Existentialist Beckett’s re-envisioning ‘Yes, yes, we’re magicians.’ benignly mainstream cognitive narratives.

I am writing in Ariel spirits surmising the incantation of Raphael and Gabriel as they are the epitomes of Archangels with their dukedom and kingdom. In multicultural and pluralistic sovereign global village epoch’s literary accolades and British Library’s Discovering Literature ‘treasure hunts and golden nuggets’ prospects echo the voice of transcended relationship between independent extension project work and non- examined assessments. Creative Writing and English Literature have mainstreamed their destinations with the stars of heaven. Eventually Dead Poets Society showcases personification of abstraction toward nebulous and mercurial film productions and movies adaptations integrating to the confederacy of theatre and performance studies. The scholastic and intellectual terrain and arena have gone to highlight features of romantic theory and critical traditions spotlight. Swedish universities offertory of diversity and variety stylistically and aesthetically bestows the upcoming prospective learners and apprentice pupils with the multifarious majors and minors. An Oxford graduate working in historic Shakespearean theatre and a Cambridge post-doctoral fellow with the essence of literary critique’s appetite have their fantabulous perspectives in demarcation with trademarks of legacy hallmarks.

I am not discoursing upon the issue of bleakish modernists’ cosmopolitan viewpoint in alluding to the harangues and tirades of social, political, economical, cultural phenomenon –the boudoirs,  saloons, cafes, restaurants, pubs and taverns, attics and ottomans, chest drawers and closets and so on. They are today ,in fact, hackneyed notions of idiosyncrasies and that’s for sure. Why would I have to abandon reading Hardy’s harrowing  pastoral landscapes and relegate Tess to be the subject of exploitation under ecocritical feminist perspectival regime. A damnable shit of effigy caricatures and frolicsome buffoonery would be succulent and amorphous rendering to the catering of farmyard’s hullabaloos banishment. William Golding’s ‘Lord of the Flies’ as skeptics critics venerate to be of utmost devotional subject in contextualizing modern times and whatsoever, whosoever, whomsoever might be gregarious to compare and contrast HG Wells’ ‘War of The Worlds’. I must profess the lionhearted proclamation and extoll the integrity of ‘Interpreting Undergraduate Research Posters in the Literature Classroom’. ‘Crystallization’ connotes exploratory critical responses and explanatory noteworthy arguments. Gabriel’s announcement in rendition to the poster presentation startles Ariel, compelling the fantastically misanthrope Caliban and devalues exhumation of sea-wayfaring, mystic recluse, maiden-mermaid Annabelle Lee.  Caramelization of marmalades through ‘close readings, negotiations, integrations, theoretical generalization and aesthetic judgement’ awestruck wondrous magic and splendorous flora-fauna. Coffee conversations and beverage-interviews in addition to bookclubs and library workshops truly enchant poster sessions in the domain of public ‘peer-review and critique’. Perfunctorily declaimed by ‘negative silhouettes’ of ‘nihilism’  in Shelley’s Alastor-The Spirit of Solitude cannot be feigning throwaways of the decoupage disharmonizing of sublimity.

Netherworld tram accidents wouldn’t have banished my forlorn industrialized solitary life to exploded ashes if bequeathment of fantasy fiction prevailed in the earthy heaven’s halcyon amidst the solitude of Desdemona, Cleopatra, Ophelia, Sebastian, Juliet Echoed Recitals of Magical Charms-Enchantment of Harry Potter’s Glory!

        My contemplative conscience cognition rekindles sparkling flames arousal in my imaginative faculty of the brain to be blessed by the revisiting Jibananda Das’s ghost-hobgoblin in my dawn of sunlight and dusk of twilight.

        What if Jibananda Das’s Phantom Spirit Drank The Life Of Hogwarts and Hanged Out With Dickensian J.K. Rowling? Crystallized Me Living With The Frozen Muggle World and My Imaginary Voyage of Figurative Troupes; The Magic of Literature In Interpreting Harry Potter and The Philosopher’s Stone

Province of pedantic rhetoricians and their intellectual circle of linguists-and-literary critics and professional philosophers revival of interest in the classification and function of figurative language such as Sister Miriam Joseph’s Shakespeare’s Use of the Arts of Language [1947] and the bibliographical archive of M.H. Abram’s ‘Mirror And The Lamp’[1953].

‘Hagrid’s big hairy face gleamed over a sea of heads.’ Take another instance, ‘Hundreds of faces staring at them, [//] looked like pale  lanterns, [//] flickering in the candelight.’’ Roman Jakobson’s highlight featuring spotlights ‘metaphoric’ or ‘vertical’ and the ‘metonymic’or the ‘horizontal’. In synecdoche [Greek for ‘taking together’], a part of something is used to signify the whole, or [more rarely] the whole is used to signify a part. In this enlightening glimpse ‘sea of heads’ could crave the treasure hunt in metaphorical synecdoche. On the issue of metonymy  [literally change of name], the literal term is applied to another with which it is closely associated, because of contiguity in common experience. Would skeptics and cynics be compelled to sbift their pattern focal convergence and divergence into ‘pale lanterns flickering candelight’. So, we have here inviting banqueters with picturesqueness of marmalade porridge, Yorkshire puddings, apple pies, treacle tarts, chocolate eclairs and   prosopopeia  the Greek term of personification whereby inanimate object [lantern and candelight] and abstract concept [hundreds of faces] is spoken of as though it were endowed with human attributes and feelings [pale and flickering].  The meter of this line of poetry having iambic feet and the fixed or nearly fixed pattern of accented and unaccented syllables producing the pervasive rhythm. Inversions in iambic verse with the dispersion of troche.

[It is possible to distinguish a number of degrees of relative syllabic stress in English speech, but the most common and generally useful fashion of analyzing and classifying the standard English meters is to distinguish only two categories-weak stress and strong stress-and to group the syllables into metric feet according to the patterning of these two stresses]

‘The crystal trophy cases glimmered where the moonlight caught them’ and ‘A few embers were still glowing in the fireplace, turning all the armchairs into hunched black shadows. In this extended metaphor the tenor embers and arm chairs implicitly and figuratively transfigure, transform, or transmogrify ‘glowing’ and ‘hunched black shadows’. Embers and armchairs are literally different objects notably dissimilar, incongruous, unallied and impropriety of the material world and their tenor are adrift and abroad the vessel vehicle and work like noun, verb or adjective.  

‘Although I was fond of blowing my own trumpet

Nonetheless I knew that a rolling moss gathers no stone;

Here I have embarked on my salad days

When I was green in judgement and cold in blood;

My self -the reed-that was too frail to survive the storm of its sorrows!!’

My laboratory handwritten manuscripts and the desktop typewriter

Shakespearean effigy lettered a caesura

‘‘Canst thou not minister to a mind diseased,

Pluck from the memory a rooted sorrow?’’

 A gleam of delighted divination

 A dawn of ethereal fortune

The stony pebbles pearly tides

thunderous rocky shores

Book of Psalms-My dreary refuge

that shuddered astrophysicists knells in extolls

‘The Lord is my rock, and my fortress, and my deliverer’

Is but a sustained metaphor   

Every simile can be compressed into a metaphor and every metaphor can be expanded into a simile. Nesfield’s ordeal in parchment of enlivening and enriching figurative language through the implication of ‘informal or implied simile’. Except the marker of comparisons ‘like, such, as, so’.  And so on and so forth, I cannot be lingering to prolong the discourse to the harbinger – cradle and grave mausoleum and sepulcher since the spirits of literary criticism in linguistics should be crowned wreathed. Or else  this wondering and aweing notes would be a teaspoons of life’s journal annihilating the heart with a dagger!!

          Jivananda my favorite Bengali poet laureate welcoming my Ariel’s wings-the freedom of liberty- in cordiality and joviality. Whilst the stalwart novelist Kavigurus’ Rabindranath sculpture flickers seashore sea shells in harmony’s nectarine tides and waves choreographing dysphasia. Ushered by the beverage hubbub, my poet counselor spiritual enchanter chanting ‘dysphasia’ which dumbfounds me. ‘Vulnerability and victimization encroaches my reading and writing of the brain totally or partially silhouetted by agraphia and alexia that elixirs would be dwelt later in neurolingusitics.

        Standard British English –thevariety of a language with the highest status in a community or nation and which is usually based on the speech and writing of educated native speakers of the language. News media and literature, dictionaries and grammars, non-native speakers conservatory and English as a foreign language sanctuary …         ‘Dotted here and there among the students, the ghosts shone misty silver.’ Reading this metaphorical figurative language from the Sorcerer’s Stone, Professor Jivananda Das exclaimed ‘Guffaw! You’ve been my student residing in the international hostel and I’d want you to perform this years’ phenomenal pageantry with endoglossic audio-visual method’.     

  ‘Recorded dialogues picture sequences to language items and focusing on speaking and listening preceding reading and writing through discouragement of mother tongue usage  and encouragement of behavourism and structural linguistics   ’

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