Application to the principal for College Leaving Certificate and Character Certificate

To
The Principal,
College Name,
College place Name.

Subject: Application for "College Leaving Certificate" and "Character Certificate".

Sir,
I passed the B.Ed examination in the year 2019, as a student of your college. My roll number is …………., Registration Number is...........

I have applied for M.Sc in the ……………………………… (University Name) and have been selected for the same.

The formalities of admission would be completed by ……………………………… (date), for which I would require to submit my "College Leaving Certificate"  and "Character Certificate" from your College.
                    
                  In view of the urgency of the mater, I earnestly request you to kindly do the needful so that I may collect my certificate as soon as possible.
Thanking you.
                                                                                                                       Yours obediently
                                                                                                                   ………………………(name)
                                                                                                                Roll No.- ............................
                                                                                                                Registration No.-....................

BAIRATPUR HIGH SCHOOL REPORT

BAIRATPUR HIGH SCHOOL - At a Glance
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In 1965, the visionaries of Kuchalidiha, Khaladi and Jaypur Gram Panchayat, came together with local leaders and residents to make a blueprint for a Secondary School in their area to make a lifelong difference to the lives of rural girls and boys through holistic education. The dignitaries (M.L.A Bhaskar Madhei, Sri Prabhakar Behera, Hadibandhu Rana, ....... and Gurucharan Mohanty ) dedicated themselves in this mission and "Bairatpur High School" took birth and started from "Bairatpur Club House" without school building.

             After 2 years ( in 1967), the then Chief Minister of Odisha , the "son of soil" Hon'ble Biju Patnaik, unveiled Foundation Stone of "Bairatpur High School" in Kirkichia ground.

This school has produced so many successful alumni who earned Name & Fame in various fields and made Bairatpur High School proud.

     The school is covered with natural obstacles in every direction - streams and canals in the east, Kalapahad Hill in the West, Soon River in the north and large arable land in the south. The geographical features played a vital role for a few enrollment in the early days.

      The Government has approved this school into full-fledged Government High School in 1994.

        This school is run by without full-time Head Master while Hindi, _________,________, ________, ______ teachers posts remained vacant for years. The existing teachers not only have to take classes but also do other non-academic works like managing M.D.M, Administrative Works, training and so on. This has been certainly affecting the quality of education.

        Unfortunately the first old school building had broken and Ex-M.L.A Srinath Soren had contributed for the repairment from his LAD Fund. Pupils sit to learn inside the old repaired classrooms now.

         This school is merged with adjacent M.E School and functioning as Single Campus from class-6th to class-10th.

       Bairatpur High School is optimistic to become a resource for lifelong learning and a vehicle for delivering a wide range of Quality Education to script it's own golden history.

      ************* THANKS *************

The Sun Rising by John Donne

PAPER-1:: UNIT-2.1     (i)John Donne: "The Sun Rising"
INTRODUCTION:-
“The Sun Rising” is a lyrical poem about two lovers of newly wed couple. It is written by the greatest metaphysical poet John Donne. It is one of his most charming and successful metaphysical love poems. It is built around a new hyperbolic assertions. In this poem Donne rebukes the sun in a dramatic way as it disturbs the lovers in their bed room. Here Donne says that the sun is a busy and old fool. It is a saucy and pedantic wretch. “The Sun Rising” expresses vexation against sun rising. But the theme of the poem is about the true love. The poet derives infinite joy by loving and by being loved. The poet’s wit and irony are here directed against the sun for trying to interfere in the lover’s happiness.
Analysis:
(“The Sun Rising” is a 30-line poem in three stanzas, written with the poet/lover as the speaker. The meter is irregular, ranging from two to six stresses per line in no fixed pattern. The longest lines are generally at the end of the three stanzas, but Donne’s focus here is not on perfect regularity. The rhyme, however, never varies, each stanza running abbacdcdee. The poet’s tone is mocking and railing as it addresses the sun, covering an undercurrent of desperate, perhaps even obsessive love and grandiose ideas of what his lover is.)
            The poet personifies the sun as a “busy old fool”. He asks why it is shining in and disturbing “us”, who appear to be two lovers in bed. The sun is peeking through the curtains of the window of their bedroom, signalling the morning and the end of their time together. The speaker is annoyed, wishing that the day has not yet come (compare Juliet’s assurances that it is certainly not the morning, in Romeo and Juliet III.v). The poet then suggests that the sun go off and do other things rather than disturb them, such as going to tell the court huntsman that it is a day for the king to hunt, or to wake up ants, or to rush late schoolboys and apprentices to their duties. The poet wants to know why it is that “to thy motions lovers’ seasons run”. He imagines a world, or desires one, where the embraces of lovers are not relegated only to the night, but that lovers can make their own time as they see fit.
            The poet continues to mock the sun, saying that its “beams so reverend and strong” are nothing compared to the power and glory of their love. He boasts that he “could eclipse and cloud them [the sunbeams] with a wink.” In a way this is true; he can cut out the sun from his view by closing his eyes. Yet, the lover doesn’t want to “lose her sight so long” as a wink would take. The poet is emphasizing that the sun has no real power over what he and his lover do, while he is the one who chooses to allow the sun in because by it he can see his lover’s beauty.
              The lover then moves on to loftier claims. “If her eyes have not blinded thine” implies that his beloved’s eyes are more brilliant than sunlight. This was a standard Renaissance love-poem convention (compare Shakespeare “My mistress’ eyes are nothing like the sun” in Sonnet 130) to proclaim his beloved’s loveliness. Indeed, the sun should “tell me/Whether both the Indias of spice and mine/Be where thou leftst them, or lie here with me.” Here, Donne lists wondrous and exotic places (the Indias are the West and East Indies, well known in Donne’s time for their spices and precious metals) and says that his mistress is all of those things: “All here in one bed lay”. “She’s all states, and all princes I”. That is, all the beautiful and sovereign things in the world, which the sun meets as it travels the world each day, are combined in his mistress.
             This is a monstrous, bold comparison, a hyperbole of the highest order. As usual, such an extreme comparison leads us to see a spiritual metaphor in the poem. As strong as the sun’s light is, it pales in comparison to the spiritual light that shines from the divine and which brings man to love the divine.
                The strange process of reducing the entire world to the bed of the lovers reaches its zenith in the last stanza: “In that the world’s contracted thus”. Indeed, the sun need not leave the room; by shining on them “thou art everywhere”. The final line contains a play on the Ptolemaic astronomical idea that the Earth was the center of the universe, with the Sun rotating around the Earth: “This bed thy center is, these walls, thy spheare.” Here Donne again gives ultimate universal importance to the lovers, making all the physical world around them subject to them.
             This poem gives voice to the feeling of lovers that they are outside of time and that their emotions are the most important things in the world. There is something of the adolescent melodrama of first love here, which again suggests that Donne is exercising his intelligence and subtlety to make a different kind of point. While the love between himself and his lover may seem divine, metaphorically it can be true that divine love is more important than the things of this world.
          The conflation of the earth into the body of his beloved is a little more difficult to understand. Donne would not be the first man who likened his female lover to a field to be sown by him, or a country to be ruled by him. Yet, if she represents the world because God loves the world, is Donne really putting himself, as the one who loves, in the position of God?
           What we can say with some firmness is that the sun, which marks the passage of earthly time, is rejected as an authority. The “seasons” of lovers (with the pun on the seasons of the earth, also ruled by the sun) should not be ruled by the movements of the sun. There should be nothing above the whims and desires of lovers, as they feel, and on the spiritual level the sun is just one more creation of God; all time and physical laws are subject to God.
         That the sun, of course, will not heed a man’s insults and orders is tacitly acknowledged. It will continue on its way each day, and one cannot wink it out of existence. There is nothing that the poet can do to change the movements of the sun or the coming of the day, no matter how clever his comparisons. From his perspective, the whole world is right there with him, yet he knows that his perspective is limited. This conceit of railing against the sun and denying the reality of the world outside the bedroom closes the poem with a more heartfelt (and more believable) assertion that the “bed thy center is.” It can be imagined that here he is speaking more to himself, realizing that the time he has with his lover is more important to him than anything else in his life in this moment, even while the spiritual meaning of the poem extends to the sun’s relatively weak power compared with the cosmic forces of the divine.
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The Canterbury Tales Summary

PAPER-1:::UNIT-1       The Canterbury Tales Summary
INTRODUCTION:- The fourteenth Century England witnessed not only a luminous star but a renowned artist, Geoffery Chaucer, who made a revolutionary stance with the spell- bonding music of poesy. As a painter, he was the harbinger of the new refined language to English literature. As a painter of the extraordinary portrait gallery, he presents all the strata of English society in his legendary book “The Prologue to the Canterbury Tales”. In this Tales, the narrator sets out on a pilgrimage to Canterbury along with twenty-nine other people. They agree to a storytelling contest in order to pass the time. The essence of the tales can be found in the prologue, where the characters are portrayed like living human beings. The portrait can be regarded as a legendary monument of the 14th century. The life-style, the living style, the ecclesiastical nature, the income and expenditure process of people are well described in these presentations.
Summary:-
In the beauty of April, the Narrator and 29 oddly assorted travellers happen to meet at the Tabard Inn in Southwark, London. This becomes the launching point for their 60-mile, four-day religious journey to the shrine of St. Thomas à Becket at the Cathedral in Canterbury. Great blessing and forgiveness were to be heaped upon those who made the pilgrimage; relics of the saint were enshrined there, and miracles had been reported by those who prayed before the shrine. Chaucer's pilgrims, however, are not all travelling for religious reasons. Many of them simply enjoy social contact or the adventure of travel.
            As the travellers are becoming acquainted, their Host, the innkeeper Harry Bailley, decides to join them. He suggests that they pass the time along the way by telling stories. Each pilgrim is to tell four stories—two on the way to Canterbury, and two on the return trip—a total of 120 stories. He will furnish dinner at the end of the trip to the one who tells the best tale. The framework is thus laid out for the organization of The Canterbury Tales.
      Chaucer, the Narrator, observes all of the characters as they are arriving and getting acquainted. He describes in detail most of the travellers which represent a cross-section of fourteenth-century English society. All levels are represented, beginning with the Knight who is the highest ranking character socially. Several levels of holiness and authority in the clergy are among the pilgrims while the majority of the characters are drawn from the middle class. A small number of the peasant class are also making the journey, most of them as servants to other pilgrims.
               As the travellers begin their journey the next morning, they draw straws to see who will tell the first tale. The Knight draws the shortest straw. He begins the storytelling with a long romantic epic about two brave young knights who both fall in love with the same woman and who spend years attempting to win her love.
                  Everyone enjoys the tale and they agree that the trip is off to an excellent start. When the Host invites the Monk to tell a story to match the Knight's, the Miller, who is drunk, becomes so rude and insistent that he be allowed to go next that the Host allows it. The Miller's tale is indeed very funny, involving several tricks and a very dirty prank as a young wife conspires with her lover to make love to him right under her husband's nose.
                The Miller's fabliau upsets the Reeve because it involves an aging carpenter being cuckolded by his young wife, and the Reeve himself is aging and was formerly a carpenter. Insulted by the Miller, the Reeve retaliates with a tale about a miller who is made a fool of in very much the same manner as the carpenter in the preceding rendition.
        After the Reeve, the Cook speaks up and begins to tell another humorous adventure about a thieving, womanizing young apprentice. Chaucer did not finish writing this story; it stops almost at the beginning.
              When the dialogue among the travellers resumes, the morning is half gone and the Host, Harry Bailley, urges the Man of Law to begin his entry quickly. Being a lawyer, the Man of Law is very long-winded and relates a very long story about the life of a noblewoman named Constance who suffers patiently and virtuously through a great many terrible trials. In the end she is rewarded for her perseverance.
               The Man of Law's recital, though lengthy, has pleased the other pilgrims very much. Harry Bailley then calls upon the Parson to tell a similar tale of goodness; but the Shipman, who wants to hear no more sermonizing, says he will take his turn next and will tell a merry story without a hint of preaching. Indeed, his story involves a lovely wife who cuckolds her husband to get money for a new dress and gets away with the whole affair.
        Evidently looking for contrast in subject matter, the Host next invites the Prioress to give them a story. Graciously, she relates a short legend about a little schoolboy who is martyred and through whose death a miracle takes place.
             After hearing this miraculous narrative, all of the travellers become very subdued, so the Host calls upon the Narrator (Chaucer) to liven things up. Slyly making fun of the Host's literary pretensions, Chaucer recites a brilliant parody on knighthood composed in low rhyme. Harry hates Chaucer's poem and interrupts to complain; again in jest, Chaucer tells a long, boring version of an ancient myth. However, the Host is very impressed by the serious moral tone of this inferior tale and is hightly complimentary.
         Since the myth just told involved a wise and patient wife, Harry Bailley takes this opportunity to criticize his own shrewish wife. He then digresses further with a brief commentary on monks which leads him to call upon the pilgrim Monk for his contribution to the entertainment.
           The Monk belies his fun-loving appearance by giving a disappointing recital about famous figures who are brought low by fate. The Monk's subject is so dreary that the Knight stops him, and the Host berates him for lowering the morale of the party. When the Monk refuses to change his tone, the Nun's Priest accepts the Host's request for a happier tale. The Priest renders the wonderful fable of Chanticleer, a proud rooster taken in by the flattery of a clever fox.
      Harry Bailley is wildly enthusiastic about the Priest's tale, turning very bawdy in his praise. The earthy Wife of Bath is chosen as the next participant, probably because the Host suspects that she will continue in the same bawdy vein. However, the Wife turns out to be quite a philosopher, prefacing her tale with a long discourse on marriage. When she does tell her tale, it is about the marriage of a young and virile knight to an ancient hag.
       When the Wife has concluded, the Friar announces that he will tell a worthy tale about a summoner. He adds that everyone knows there is nothing good to say about summoners and tells a story which proves his point. Infuriated by the Friar's insulting tale, the Summoner first tells a terrible joke about friars and then a story which condemns them, too. His rendering is quite coarse and dirty.
      Hoping for something more uplifting next, the Host gives the Cleric his chance, reminding the young scholar not to be too scholarly and to put in some adventure. Obligingly, the Cleric entertains with his tale of the cruel Walter of Saluzzo who tested his poor wife unmercifully.
             The Cleric's tale reminds the Merchant of his own unhappy marriage and his story reflects his state. It is yet another tale of a bold, unfaithful wife in a marriage with a much older man. When the Merchant has finished, Harry Bailley again interjects complaints about his own domineering wife, but then requests a love story of the Squire. The young man begins an exotic tale that promises to be a fine romance, but Chaucer did not complete this story, so it is left unfinished.
         The dialogue resumes with the Franklin complimenting the Squire and trying to imitate his eloquence with an ancient lyric of romance. There is no conversation among the pilgrims before the Physician's tale. His story is set in ancient Rome and concerns a young virgin who prefers death to dishonor.
         The Host has really taken the Physician's sad story to heart and begs the Pardoner to lift his spirits with a happier tale. However, the other pilgrims want something more instructive, so the Pardoner obliges. After revealing himself to be a very wicked man, the Pardoner instructs the company with an allegory about vice leading three young men to their deaths. When he is finished, the Pardoner tries to sell his fake relics to his fellow travellers, but the Host prevents him, insulting and angering him in the process. The Knight has to intervene to restore peace.
         The Second Nun then tells the moral and inspiring life of St. Cecelia. About five miles later, a Canon and his Yeoman join the party, having ridden madly to catch up. Conversation reveals these men to be outlaws of sorts, but they are made welcome and invited to participate in the storytelling all the same.
           When the Canon's Yeoman reveals their underhanded business, the Canon rides off in a fit of anger, and the Canon's Yeoman relates a tale about a cheating alchemist, really a disclosure about the Canon. It is late afternoon by the time the Yeoman finishes and the Cook has become so drunk that he falls off his horse. There is an angry interchange between the Cook and the Manciple, and the Cook has to be placated with more wine. The Manciple then tells his story, which is based on an ancient myth and explains why the crow is black.
                                At sundown the Manciple ends his story. The Host suggests that the Parson conclude the day of tale-telling with a fable. However, the Parson preaches a two-hour sermon on penitence instead. The Canterbury Tales end here.
CONCLUSION:-
 The stories cover many genres from medieval literature and reflect the lively characters who tell the tales. The characters represent various social levels, including a knight, some clergymen, members of the middle class, and a few peasants. The pilgrims respond to one another’s stories and create links between seemingly disparate topics.
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