MODULE 2

RELATIONSHIP BETWEEN INDIVIDUAL (MAN) AND SOCIETY

Traditionally, two lhcocÅ3S — tile social contract and the organic theory — have
explained the relationship between the individual and society. According to social contract
theory, society is the result of an agreement entered into by men who originally lived in a pre-
social state. And because society is made by man he is more real than his creation. Society is
mere aggregation of individuals.

According to the organic theory on the other hand, society is an organism. Just as the
parts of an animal body are functionally related and none can exist „isolated from the rest. So
the members of a social body are functionally related to each other and to the society as a
whole. Therefore, society is more real than the individual and is greater than the sum of its
individual members. Both the theories have failed to explain adequately the relationship
between the individual and society. The relationship between individual and society one—
sided as these theories indicated. The social theory tends to ignore man‟ s social character.

It fails to sufficiently appreciate the importance of society in developing the individual

The theory also assumes that man is or could become human outside or apart from society
which is false. It implies that the individual and his society are separable. That is to say, man is
born social. But the man is not born social. As Park says, “Man is not born human but to be
made human. No human being is known to have normally developed in isolation. If the child
is abstracted from contact with his fellows at birth, it will grow up into a feral man without
knowledge of human speech. Without any concept of „right‟ and wrong‟

That individual‟ s human nature is dependent upon his or her membership in a society
is supported by several case studies, the famous German case of Kaspar Hauser, the case of
the „Wolf-Children‟ of India — Amala and Kamala, the case of Ramu and the case of Anna. All
this tends to show that no human being can normally develop in isolation. The organic or
group-mind theories is correct in so far as it stresses the dependence of man on society. But
these theories almost entirely discount the roll of individual social life and deny individuality
to the individual. It is wrong to say that society is more real than its members, that our
consciousness is only an expression of social consciousness, social mind. Indeed, society can
have little meaning‟ , as Says Maclver, “Unless individuals themselves are real”

The reality is that there exists a fundamental unit-whole inter between the individual
and the social order. The human child is at outset an organism belonging to an animal species.
It is through his interplay with his parents and then gradually with other fellows (friends,
teachers) that he gets his human nature and his personality. Every individual is thus the
product of social; relationship. He is born to a society which subtly molds his attitudes, his
beliefs and his ideals. At the same time society also grows and changes in accordance with the
changing attitudes and ideals of its members. Social life can have no meaning except as the
expression of the lives of the individuals.
 Society has meaning to the individual only because it supports and contributes to the
ends: the purposes of individuals themselves. It is these ends which gives society a unity. It is
by helping the development of individuality of the individual that society achieves its purpose
and significance. There is thus a close relationship between Individual and society.
As says Maclver, “Individuality in the sociological sense is that attribute which reveals the
member of a group as more than merely a member. For he is a self, a center of activity, of
feeling, of function, of purpose.

The more a society is complex and organized, the more the society affords opportunity
for initiative and enterprise, the greater the degree of Individuality among the members.
There is no inherent antagonism between individually and society, each is essentially
dependent on other. According to Maclver, the real world of man, society and individuality go
hand in hand”. It would be however misleading to say that there exists complete harmony
between individuality and society.

Society is a system of relations among individuals. The system molds our attitudes,
beliefs and our ideals. This does not mean that individuals belong to society as the leaves
belong to the trees or the cells to the body. The relations between the individual and society
are closer. Society is a relation among its members. It is the sum of individuals who are in state
of interaction. But this interaction creates something which is more than the sum of individuals.
And it is this interaction which differentiates society from the aggregation of individuals. There
is, thus, a fundamental and dynamic interdependence of individual and society, the only
experience that we know is the experience of individuals.

All thoughts or feelings, are experienced by individuals. Feelings or thoughts are like,
but not common. There is no common will of society. Where we say that a group has a common
mind or common will it means that there are tendencies to thought, feeling and action, widely
dominant in group. These tendencies are the product of past interaction between individuals
and their present relations. But they do not form a single mind, single will or purpose. Society
cannot have a mind or will of its own.

It is only in the light of our interests, our aspirations, our hopes and fears, that we can
assign any function and any goal to society. Conversely individuals have interests, aspirations,
goals only because they are a part of society. To quote Ginsberg, “Society is the condition of
his having any ends at alt since social life molds all his ideals and gives definiteness and form
to all his impulses “. It follows that the relationship between individual and society is not one-
sided.

It may be concluded that individual and society are interdependent. Neither the
individuals belong to society as cells belong to the organism, nor the society is a mere
contrivance to satisfy certain human needs. The individual and society interact to one another
and depended on one another. Both are complementary and supplementary to each other.

2.1 NECESSITY MAKES MAN A SOCIAL ANIMAL

Man is a social animal not only by nature but also by necessity. It is said that needs and
necessities makes man social. Man has many needs and necessities. Out of these different
needs social, mental and physical needs are very important and needs fulfillment. He can‟ t
fulfill these needs without live in society.

All his needs and necessities compel him to live in society. Many of his needs and necessities
will remain; is psychological safety, social recognition, loves and selfactualization needs only
fulfilled only within the course of living in society. He is totally dependent for his survival upon the
existence of society. Family members.

He would not survive even a day without the support of society. All his basic needs tike
food, clothing, shelter, health and education are fulfilled only within the framework of society.
He also needs society for his social and mental developments. His need for selfpreservation
compels him to live in society. Individual also satisfy his sex needs in a socially accepted way
in a society. To fulfill his security, concern at the old age individual lives in society. Similarly,
helplessness at the time of birth compels him to live in society. A nutrition, shelter, warmth and
affection need compels him to live in society. Thus for the satisfaction of human wants man lives
in society. Hence it is also true that not only for nature but also for the fulfillment of his needs
and necessities man lives in society.

2.2 MAN LIVES IN SOCIETY FOR HIS MENTAL AND INTELLECUAL

DEVELOPMENT

This is yet another reason for which man is a social animal. Society not only fulfils his
physical needs and determines his social nature but also determines his personality and
guides the course of development of human mind.

Development of human mind and self is possible only living in society. Morals, ideals
and thereby molds individual personality the course of -living and with the process of
socialization man‟ s personality develops and he became a fully-fledged individual. Man
acquires a self or personality only „living in a society. From birth to death individual acquires
different social qualities by social »interaction with his fellow beings which molds his
personality. Individual mind without society remain undeveloped at infant stage. The cultural
heritage determines man‟ s personality by molding his attitudes, beliefs, morals and ideals.
With the help of social heritage man‟ s in born potentialities are unfolded.

Thus, from the above discussion we conclude that Man is a social animal. His nature and
necessities makes him a social being. He also depends on society to be a human being. He
acquires personality within society. There exists a very close relationship between individual
and society like that of cells and body

2.3 RELATION BETWEEN INDIVIDUAL AND SOCIETY

Human cannot survive without society and societies cannot exist without members. Still
there may be conflicts between the individual and society one can imagine that social s sterns
function better when the have considerable control over their individual members, but that
this is a mixed blessing for the system‟ s members. Likewise, can competition with other
societies strengthen the social system, while wearing out its constituent members? This idea
was voiced by Rousseau (1769) who believed that we lived better in the original state of nature
 than under civilization, and who was for that reason less positive about classic Greek
civilization than his contemporaries. The relation between individual and society has been an
interesting and a complex problem at the same time. It can be stated more or less that it has
defied all solutions so far. No sociologist has been able to give a solution of the relation
between the two that will be fully satisfactory and convincing by reducing the conflict between
the two to the minimum and by showing a way in which both will tend to bring about a healthy
growth of each other. Aristotle has treated of the individual only from the point of view of the
state and he wants the individual to fit in the mechanism of the state and the society. It is very
clear that relation between individual and society are very close. So we will discuss here Rawls
three models of the relation between the individual and society.

2.4 RAWLS THREE MODELS OF THE RELATION BETWEEN THE INDIVIDUAL

AND SOCIETY

1. The first model is Rawls‟ s presentation of the position of classical utilitarianism, His
most telling argument against the utilitarian position is that it conflates the system of
desires of all individuals and arrives at the good for a society by treating it as one large
individual choice. It is a summing up over the field of individual desires. Utilitarianism
has often been described as individualistic, but Rawls argues convincingly that the
classical utilitarian position does not take seriously the plurality and distinctness of
individuals [ applies to society the principle of choice for one man. Rawls also observes
that the notion of the ideal observer or the impartial sympathetic spectator is closely
bound up with this classical utilitarian position. It is only from the perspective of some
such hypothetical sympathetic idea) person that the various individual interests can be
summed over an entire society [l . The paradigm presented here, and rejected by
Rawls, is one in which the interests of society are considered as the interests of one
person- Plurality is ignored, and the desires of individuals are conflated. The tension
between individual and society is resolved by subordinating the individual to the social
sum. The social order is conceived as a unity. The principles of individual choice,
derived from the experience of the self as a unity, are applied to society as a whole.
Rawls rightly rejects this position as being unable to account for justice, except perhaps
by some administrative decision that it is desirable for the whole to give individuals
some minimum level of liberty and happiness. But individual persons do not enter into
the theoretical position. They are merely sources or directions from which desires are
drawn.

2. The second paradigm is that which characterizes the original position. It has already
been suggested that this is a picture of an aggregate of individuals, mutually
disinterested, and conceived primarily as will. While not necessarily egoistic, their
interests are each of their own choosing. They have their own life plans. They coexist
on the same geographical territory and they have roughly similar needs and interests
so that mutually advantageous cooperation among them is possible. I shall emphasize
this aspect of the circumstances of justice by assuming that the parties take no interest
in one another‟ s interest. - Thus, one can say, in brief) that the circumstances of justice
obtain whenever mutually disinterested persons put forward conflicting claims to the
division of social advantages under conditions of moderate scarcity. Here the tension
between individual and society is resolved in favor of plurality. Of an aggregate of
 mutually disinterested individuals occupying the san-je space at the same time. It is
resolved in favor of the plural, while giving up any social unity which might obtain. The
classical utilitarian model and the original position as sketched by Rawls provide
paradigms for two polar ways in which the tension between the plurality of individuals
and the unity of social structure might be resolved. One resolution favors unity and the
other favors plurality.

3. The third paradigm is included under Rawls‟ s discussion of the congruence of justice
and goodness, and of the problem of. Stability. It is described as a good, as an end in
itself which is a shared end. This paradigm is distinct both from the conflated
application to the entire society of the principle of choice for one person and from the
conception of society as an aggregate of mutually disinterested individuals. The idea
of a social union is described in contrast to the idea of a private society. A private
society is essentially the second model as realized in the actual world. It stems from a
consideration of the conditions of the original position as descriptive of a social order.
Over against this notion of private society, Rawls proposes his idea of a social union. It
is one in which final ends are shared and communal institutes are valued.

CLASS DISCUSSION:

1. Online discussion on the following questions:

a. What is the relationship of man and society?
b. Why is society important for being a human?
2. Enumerate the Rawls three models of the relation between the individual and society.

SUGGESTED CLASS ACTIVITIES:

1. In your barangay. try to ask at least two to three person about the given question;
a. What is the relationship between man and society?
b. How does society shape you as person?
c. Who is more important; man or society?

After collecting information, write your conclusion about the given data and compare each
answer.

2. Recall some information about the history of literature and explain how human world
changes did.
 POETRY
I. LYRIC POETRY. During the early years, it was referred to the kind of poetry meant to
be sung to the accompaniment of a lyre. The modern generation applies this type of
poetry that expresses emotions and feelings of the poets. They are usually short, simple
and easy to understand. It is a poet's personal thoughts and feelings in vivid and musical
language. Any subject that calls up a poet's thoughts and feelings is suitable for a lyric
poem. It takes any forms with different patterns of rhyme and rhythm.

A. Kinds of Lyric Poetry

1. Sonnet —It is one of the most enduring and influential poetic patterns in the English
language. The word sonnet derives from the Italian word sonneto which means "little
song". This lyric poem has 14 lines with a formal rhyme scheme or pattern. The
following are the three major kinds of sonnet:
A. English or Shakespearean Sonnet —This contains 3 Sicilian quartrains and one
heroic couplet at the end, with an "abab cdcd efef gg" rhyme scheme. The turn
comes at or near line 13, making the ending couplet quick and dramatic.
B. Italian or Petrarchan Sonnet— This sonnet is split into two parts, an octave and a
sestet. The octave is composed of two envelope quartrains rhyming "abba abba
(Italian octave). The sestet's rhyme pattern varies, though it is most often either 'cde
cde" (Italian sestet) or "cdc dcd" (Sicilian sestet). The turn occurs at the end of the
octave and is developed and closed in the sestet.
C. The Spenserian Sonnet —This lyric poem was named after the English poet
Edmund Spenser. It is divided into three quartrains and a closing couplet with a
rhyme scheme of "abab bcbc cdcd ee."

GEMS FOR THE THOUGHT

The earliest sonnets date from about 1200 and were probably sung as expressions of romantic love
in Italian courtyards. The 14-line form was popularized by Petrarch in the 14th century with his

work "Canzoniere" a sequence of 366 poems, most of which were dedicated to an idealized lover.
Petrarch's works influenced many European writers such as Dante and Boccaccio and eventually
spread to England influencing Chaucer. The Italian version has the octave, sestet structure.

In Shakespeare's time, the English version of the sonnet had diverged slightly from the Italian

breaking the poem into three quartrains, or four-line units. The quartrains are followed by a couplet,
two rhyming lines. Each quartrain usually contains a main idea, with the couplet summarizing the entire
sonnet and stating the theme.

Sonnets were originally in Italian and were love poems. Though the sonnet is a form that can be
experimented with, it has remained true to its original len gth of fourteen lines and its Anglicized
meter of iambic pentameter. Petrarch developed the sonnet to one of its highest levels during the
 Renaissance Italy, but it wasn't translated into English language until the sixteenth century. From there,
Shakespear e made the sonnet famous in England and others followed his lead.

Both varieties usually contain a shift in tone, stance or viewpoint, called a Volta, after the 8 th line,

and sometimes in the final couplet in the Shakespearean version.

The sonnet is a wonderful vehicle to explore shifts in tone, viewpoint or argument. It allows the
poet to develop a position or mood in the first eight lines and shift to a different mood or position in the
last part of the poem. The structure‟ s ability to develop a story is offset by the musical nature of the rhyme
scheme creating an interesting tension between narrative and lyricism.

2. Elegy--This is a lyric poem which expresses lament and mourning for the dead, feelings
of grief and melancholy. Its theme is death.
3. Ode--This is a poem of noble feeling, expressed with dignity, and praises for some
persons, objects, events or ideas. It is exalted in tone and formal in structure and content.
4. Songs--This is a poem with or without definite number of syllables and stanza is always
accompanied by musical instrument.
5. Psalms--This is a song praising God or the Virgin Mary and containing a Philosophy in
life.
6. Simple Lyric-- Includes a variety of poems with varying themes and characterized by
subjectivity.
7. Pastoral--A celebration of the simple, rustic life of shepherds and farmers. The lonely
farmer or shepherd longs to wed.

II. NARRATIVE POETRY. This form describes important events in life either real or
imaginary. It a type of poetry that tells a story. Narrative poems have a special appeal.
They present dramatic events in a vivid way, using some of the same elements as short
stories: plot, characters and dialogue.

TYPES AND FORMS

• Epic. This is an extended narrative about heroic exploits often under supernatural
control or divine intervention. It may deal with heroes and gods.
1. Popular or ancient epic poetry is usually without definite author and is slow in the
development.
2. Modern epic poetry has a definite author.
 • Metrical Tale. This is a narrative which is written in verse and can be classified either
as a ballad or medieval romance. It relates real or imaginary event. It has a wide scope
of subjects, characters, life situations i.e. emotional experiences that can be light or
serious.
1. Medieval Romance--This is narrative written in verse which deals with the
adventures of the knights wooing highborn ladies during the age of chivalry. It has
spectacular events charmed with magic and a distinct theme that is the victory of
good over evil.
2. Ballad -- (in narrative poems). It is a songlike poem that tells story, often dealing
with adventure and romance. Most ballads are written in four-six stanzas and have
regular rhythms and rhyme schemes. A ballad often features a refrain-a regularly
repeated line or group of lines.

GEMS FOR THE THOUGHT

Originally, ballads were not written down. They were composed orally and then
sung as these early folk ballads passed from singer to singer, they often changed
dramatically. As a result, folk ballads usually exist in many different forms. Many writers
of the modern era have used the ballad form to create literary ballads-written imitations
of folk ballads.

3. Fabliau--A comical and often grotesque verse tale with plot often hinge on the
comical treatment of bodily functions-sex, flatulence, diarrhea. It was written by the
unknown writers of the thirteenth and fourteenth centuries. About two hundred of
them are in their existence today. They are at the opposite pole from the courtly
poetry with its artificial pictures of knights and ladies and its elaboration of the
subtleties of love. They describe life and people and ridicule the absurdities and
abuses of the time.
4. Social Poem. This form is either purely comic or tragic and it pictures the life of
today. It may aim to bring about changes in the social conditions.

III. DRAMATIC POETRY has elements that are closely related to the drama. It uses a
dramatic technique and may unfold a story. Its emphasis is more on the character
rather than the narrative.
1. Dramatic Monologue is a combination of drama and poetry. It presents some lines
or speech of a single character in a particular but complicated situation and
sometimes in a dilemma.
2. Soliloquy is like the monologue. The speaker in the poem or the character in a
Play delivers a passage. His thoughts and emotions are heard by him and by the
audience.
3. Character Sketch is a poem in which the writer is concerned less with the elements
of the story. He presents his observations and comments to a particular individual.
 4. Oration is formal address elevated in tone and is usually delivered on some notable
occasion.

IV. SPECIAL TYPES OF POETRY

1. Concrete poetry is meant to be seen as well as heard like an ordinary poem. In a
concrete poem, the words are arranged into shape, often one that looks like the subject.
The term “concrete” refers to the specific shape or representation of something.
Concrete poems are often lighthearted. When the words of a poem are arranged in a
shape that imitates the subject or suggests something about it, the effect is usually
playful.
2. Haiku is a form of poetry that originated in Japan. A Haiku has three lines; the first and
third lines have five syllables each; the second line has seven. It depends on imagery.
Each word or phrase evokes an image. A haiku usually depicts a scene in nature and
often implies a strong feeling. It is condensed. A mere handful of words will picture the
entire scene and will convey a universal feeling, such as fear, surprise, regret, hope,
or mystery. One reason that readers enjoy haiku is that a single poem can be
interpreted in different ways, and it is interesting to compare and discuss different
interpretations. It relies heavily on the power of suggestions and connotation.

CHARACTERISTICS OF HAIKU

Length--traditionally haiku has a form generally identified as a 17 onji poem in a 5-7-5 relationship.
Onji are similar to syllables.

Season Word-- in every haiku, there should be a kigo, a word which defines the season.

Cutting Word --- a kireji separates the poem into two parts of 12 and 5‟ or 5 and 12 Onji, as both
written and a spoken pause.

Most haiku closely approximate these rules. However as in all art, breaking rules can
lead to wonderful results. The popularity of haiku throughout the world has generated a strong
opinion that some rules are closely tied to Japanese experience of life, and not appropriate for
international haiku.

GEMS FOR THE THOUGHT

Haiku is a Japanese form of poetry which has a long history and has touched the heart and soul of the

Japanese people. It can be in written or spoken form.

Haiku is very difficult to understand the meaning according to people, even Japanese themselves.
Hai an entertainment actor

Ku a phrase or verse
 During the HEIAN period (794-1192) there developed a fashion where poets would sit together
taking turns composing p oetry consisting of linked standard size verses (renga). One person would
begin by making a verse and then another would add a verse related to the preceding verse. lt

became popular as a party game making the outwitting fellow poet, more important than the integrity
of the poem. Wealthy classes had renga parties with famous poets in their homes. For others there
were more public events, betting, drinking, and general carousing — so much that laws were passed
in an attempt to control behavior in public renga gatherings

By the MUROMACHI period (1324-1549), the long renga reached its zenith with intricate rules
about the construction of the poems, often with hundred verses long. The first verse set the tone or
mood for the whole poem and it was called as hokku and the most capable poet of renga group was
selected to create the hokku.

By 1356 one famous collection of poetry included a volume of independent hokku.

By 1461, a separate term evolved to indicate those hokku which were not written as part of renga.
Through the years the writing of hokku developed and matured in the art of haiku.

3. Limerick has short lines, a swift, catchy rhythm and heavily stressed rhymes. There
are three beats in the first, second, and fifth lines which rhyme, and two beats in the
 FOUR GREAT HAIJIN
Gasho Matsuo (1644 -1694), a most wel - known haiku poet. He was a master of renga. He was
popular and taught poetry for a living. He was well known for writing in haiku about his travels.
He is considered as the Grand Old Master.
Busonyosa (1716-1784) is a prolific and versatile writer and painter, and his haiku often have
a painterly quality to them.
Issa Kobayashi (1762 - 1826) – has touched the hearts of many Japanese in a very personal
way because of his cruel stepmother. He made haiku an expressing appreciation of simple
everyday experiences.
Shiki Masaoka (1867 -1902) —The last of the great masters of traditional haiku and the fir st
master of modern haiku. He suffered from spinal tuberculosis and died young.
Kaerimireba Inu no ko no
Yuki-aishi hito fumaete netaru
Kasumi keri yanagi kana
When I looked back The puppy asleep
The man who passed pushing his feet
Was lost in the mist against the willow-tree

—Shiki -Issa

third and fourth lines, which also rhyme. Most limericks follow the rhyme scheme
aabba.
4. Epigram is a short rhyming poem with some sort of satirical content. It is also succinct.
Pithy saying.

HOW TO ENJOY POETRY

Reading is an act of discovery. Active readers ask questions about the use of words
clarify the intended use of language. They listen for the music of the poem. They stop to
summarize and to paraphrase the poem‟ s meaning. Finally, they pull together all the elements
of the poem. Use the following strategies to help you read a poem actively.

Question: The poet Samuel Coleridge defined poetry as “the best words in the best order.” As
you read, ask questions about the effect of the
words. Think about vivid images, or word pictures. What do they make you
see? What do they make you feel?
 Clarify: Poems are often filled with figurative language-that is, language that
says one thing but means another. As you read poetry, stop to clarify
to ask if the words mean exactly what they say. If the words suggest
something beyond their basic literal meaning, perhaps the poet is
using them figuratively or intends a more imaginative meaning.
Listen: Poetry has a musical quality. To fully enjoy it, listen to the music
created by the use or rhythm and rhyme. Look for the effect of the
repetition of sounds, words and phrases. Also remember that the end
of a sentence in poetry is not necessarily the end of a line. Let
punctuation marks guide your reading.
Summarize: Some poems tell a story. When you read, stop at appropriate points in
the story to summarize what has happened so far.
Paraphrase: Ask what the poem means, and then put this meaning into your own
words. You do not truly own, or understand a poem until you can
express its meaning in your own words.
Pull It Together: A poem consists of words, images, rhythms, and meaning. For a
poem to live, something from within you must come to it and meet it
and complete it. After you have read a poem, bring all the elements
together. What did the poem say to you?

CLASS DISCUSSION:

1. Enumerate the Four great haijin and what are there contributions in the field of Literature.

2. Describe important events in life using the different types of poetry.

3. Online discussion: Types of Poetry and how will relate into our lives.

SUGGESTED CLASS ACTIVITIES:

1. On a bond paper, explain the difference of each type of poetry and how it works in the
society.

2. Select any type of poetry and make your own version of it. Use the strategies that can
help you and answer the following questions; a. What did it make you feel?
b. What did the poem say to you?