talked about the writing of An Imaginary Life. He has said that:- I didn’t realize I was writing a novel when I started that book. I didn’t know what I was writing, whether it was a long dramatic monologue in prose or whether I was writing a long prose poem, or a piece of part fiction, part-monologue, part-essay. I just launched into it. What I was interested in were all questions that had come up out of poetry: they were questions about the language of poetry, they were questions about the relationship
Allow me to introduce the Man inside my head. He does not have a name nor an identity, but He is the sole contributor to the immutable monologue which streams across the news ticker that is my conscious mind. Born out of a case of social anxiety, this Man is my best friend, and beyond that, He is a version of myself that the world has never met. He alone can penetrate into my subconscious mind, but He never talks about what He finds in that intangible repository. The late Sigmund Freud theorized
combination of past and modern time. The modern is usually front and center of his work and it is completed with different allusions to the past, such as William Shakespeare, the Greeks and more. By form, “Prufrock” is a variation on the dramatic monologue which means it is “a poem written in the form of a speech of an individual character, it compresses into a single vivid scene a narrative sense of the speaker’s history and psychological insight into his character” (The Encyclopædia Britannica, 2014)
of poems that focuses on memories from his childhood (“Theodore H.”). Roethke shows his struggle of identity as a child, which reflects how he established his identity as a poet. Through the reflections of this work Roethke found his own voice and vision (“Theodore" Contemporary). This collection included “My Papa’s Waltz”, written about Otto Roethke. Many of the ideas in The Lost Son were inspired by the Greenhouse of his childhood, focusing on the growing of nature, and containing many paradoxes
The distinctiveness of Indian theatrical tradition in the dramatic cultures of the world—its antiquity as well as its aesthetic appeal—is more or less indisputable today. The roots of theatre in India are ancient and deep-seated. Theatrical expression of some kind or the other has been since primitive and mythic times, an integral part of Indian life. Our knowledge about the initial, primitive stage of theatrical activity in India is very meagre. However one can safely say that theatre in India as