Question

Explain the similarities between Cry the Beloved country by Paton and Sweeney Erect by Elliot?

Answer 1

I. Sweeney Erect', 'Sweeney among the Nightingales', 'Mr Eliot's Sunday Morning Service' where we find him in the shower in the last stanza, The Waste Land where he gets a passing notification, and the play, Sweeney Agonistes, a sort of jazz-performance which Eliot tragically surrendered, anyway he repeated two scenes from this test bit of pioneer theater in his Collected Poems.

I. Cry, the Beloved Country, the most well known and basic novel in South Africa's history, was a provoke in general achievement in 1948. Alan Paton's excited novel about a dull man's country under white man's law is a work of consuming heavenliness.

I. Regardless, 'Sweeney' makes his introduction in 'Sweeney Erect', a verse in quatrains which at first appeared in Eliot's second volume, Poems, in 1919 (republished in 1920). You can scrutinize 'Sweeney Erect' here; what seeks after are a couple of words by technique for examination about this inconspicuous poem.

I. Hailed as outstanding amongst other South African books, Cry, the Beloved Country was first circulated in the United States, bringing up worldwide South Africa's disastrous history. It describes the story of a father's experience from common South Africa to and through the city of Johannesburg searching for his youngster. The peruser can't avoid the chance to feel significantly for the central character, a Zulu serve, Stephen Kumalo, and the tangled exposures he makes in Johannesburg

I. For sure, even the speaker of the poem dehumanizes the woman, portraying her as a 'shriveled base of packs and hair'. The complement in this verse is on limited impression of a soiled urban scene: the speaker passes no comment on Sweeney's direct.

I. The epic gets the cutoff points of human inclination, and Alan Paton's trust in human balance in the most exceedingly horrendous of conditions is both ground-breaking and motivating. The story shows the savagery of politically-authorized racial isolation, yet paying little mind to its resolute delineation of cloudiness and misery in South Africa, in spite of all that it offers look for after a prevalent future. The story itself is a wail for South Africa, which we learn is worshiped paying little mind to everything; a cry for its family, its domain, and the temporary look for after its chance from disdain, dejection, and fear.