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Task 1
Three Prose Writer
Que 1. Write note on S.Radhakrishanan's Perspective on Hinduism?
Professor Radhakrishnan, the best-known Of the three is a philosopher states man with an international reputation, a scholar with a phenomenal memory, a resourceful and eloquent and effective speaker, and a voluminous writer with an uncanny flair for lucidity and epigrammatic Strength. After Independence, he became Chairman of the Universities commission, India President he divided his time between Moscow and all souls, Oxford, and completed his English translation of the principal upanishads.
(The Hindu view of life. 1927)
(An Idealist view of Life 1932)
The Apologist of the Hindu view of life- and of the idealist view at life in teams mainly of Advaita vedanta. He gives lessons on Gautama the Buddha.
Radhakrishnan tells British audience that Religious tolerance has been a hallowed tradition in India.
Bhagavad Gita
Dhammapada
Principal Upanishads
Brahma sutras
In other words, he went back to the Living waters at the Indian philosophical tradition and found them more Self-explanatory and self adjusting to changing circumstances than any exegetical edifices could by themselves hope to achieve he show Hinduism more in its visible dynamic aspects, it is but natural that mellowed Radhakrishanan.
Radhakrishnan starts off by confronting the classic question of what Hinduism actually is. This, he does not answer directly, for a very good reason: Hinduism isn’t an internally recognised word, but a name given to the subcontinent of India by outsiders. Later, it was recognised by Hindus as being a practicable working name. This was because India, despite being diverse, had a common history, literature and civilization
The backbone of Hindu culture and beliefs is the Vedas. Faith is the vision of the soul where the spiritual part of the world is apprehended, just as the material world is apprehended via the physical senses. The mind has two powers, reason and intuition. Reason correlates with the physical senses, intuition with faith. The Vedas are a collection of the intuitions of the soul, which became the spiritual intuitions which founded the cohesive Hinduism we now know. These intuitions have a perennial value because “the truths revealed in the Vedas are capable of being re-experienced on compliance with ascertained conditions”.
Hindus believe that there are different paths to God, and each individual has their own path. This is one of the reasons why there are many different books to learn from, not just the Vedas, but the Puranas, Ramayana, Mahabharata, to name a few. The reason why it is thought that each person has their own path to God is that religious experience cannot be made objective. Instead, our path to God is crafted from how we are disposed to experience God, therefore we all have a different experience of what God is, and a different path to God.
2.Raghunathan's views of Indian culture?
One of the great Journalists N. Raghunathan who wrote under 'Sotto voce' and signed himself as Vighneswara, Raghunathan was usually the conservative,unpopular,diehard view the conservative, unpopular, diehard' view: his assent with tradition was apt to assume the tone of dissent From current notions of progress and yet his view couldn't be dismissed as of no consequence, for the undertones of assent and dissent came with an accent of authority that compelled attention if not acquiescence.
He was using words ,swadharma, Swatantra Swarajya and also he was talking more and using viveka, pramada, mantra and other Indian words and culture with Indian spirituality.
New Rules (1961)
The Coming at Freedom (1959)
The Avadi socialists (1964)
Own paradise (1970).
Reason and Intuition In Indian Culture (1969)
Raghunathan's feeling for tradition doesn't of course make him a strick in the mud obscurantist. He is fully aware of the tempo of Change in this age of nuclear Power and Space travel. Change is easy, and dangerous . The problem is to Preserve the right balance between change and stagnation, retain the soul in its Purity and Power, yet permit the body's growth and development and Facilitate the education of the mind in the context of advancing science and Technology.
Raghunathan's style has yet a distinctiveness of its own, marked by a Sanskritic Flavour, a sweep of comprehension, an undertone of dhwani and a Poise and Structural adequacy that are the marks of a mastery of the medium. Raghunathan write as one who has a sense at belonging utterly to the great cultural tradition of our country and as one who is unafraid to stand up to intimidation by what passes for modernity He has confessed to "a quite primitive Objection to coercing or being coerced, "and to "an obstinate faith in Freedom as the basic social value. "
Task -2
1.Write a note on how kaikini differs From Other Indian poets in his poems. P. R. Kaikini?
P. R. Kaikini
Flower offerings (1934) had the subtitle "Prose Poems on Truth, Beauty and Nahue" and its was Followed by songs of a wanderer: Prose Lyrics 1936) The Influence of Tagore.
The mood soon changed, and kaikini instead of singing of "joy and dynamic life" began to scream about "blood and war" and rhythmic prose gave place to free verse. This civilization (1937), Shanghai (1939), The Recruit (1940). The Snake in the Moon (1942) and look on Undaunted (1944) were the recordations of Kaikini's response to the changes on the Indian or world scene in the Wake of the rake's Progress of the Nazis and the Militarists and the rape of the masses everywhere.
Science, politics, everyday affairs and Passionate sense of right and wrong. A Natural calamity like The Quetta earthquake of 1935 the Sufferings of embattled Shanghai in 1937, the war that Hitler precipitated in 1939 the nadir of human Fortune in 1942 these were kalkini's themes.
2.Write a critical Note on the poems by Nissim Ezekiel
Nissim Ezekiel is a great Indo-Anglian poet. Versatility is the outstanding characteristic of his poetry. The Indian contemporary scene, modern urban life, human relationship, love and sex and spiritual values are the major themes of his poetry. He has experimented endlessly with form and craft. Flawless craftsmanship makes his poetry unique.
AS A POET OF INDIAN URBAN LIFE: Ezekiel is a poet of city life. In his poem we find the description of Bombay. It is symbol of any modern city. Through this symbol the poet has presented the ugliness, dirt, wickedness, inhumanity and squalor of life. According to him the city reduces human personality to a zero. In 'In Morning Walk' the poet says:
Barbaric city, sick with slums,
Deprived of seasons, blessed with rains
Its hawkers, beggars, iron lunged
Processions led by frantic drums.
LOVE AND SEX: Love and sex occupy prominent place in Ezekiel's poetry. In fact, Ezekiel is a poet of body. The celebration of flesh, breakdown of married life and sensuality and lust are recurring motives in his poetry. His poems entitled 'Description', 'Motives', 'Nudes' and 'The Couple' offer some spicy pictures of sexual relationship. In 'Motives' the poet says:
My motives are sexual,
aesthetic and friendly
in that order, adding up
to bed with you.
INDIANNESS: Ezekiel is a foreigner whose ancestors had migrated to India. As a poet he has observed and experienced much more of Indian life. Thus the acceptance of Indian reality is an important characteristic of his poetry. His poetry portrays the social aspect of India with a humanistic strain. But the fact of the matter is that Ezekiel rebelled against the Indian way of life. He has ridiculed the Indian modes of behaviour and the Indian way of speaking the English language. Thus his poems show more of anti- Indianness than Indianness.In short, the poet's relationship with India is love hate relationship.
AS A POET OF RELATIONSHIP: Ezekiel has centred his attention on marital, family and human relationship. As a sharp observer of marital life the poet says that husbands and wives should try to create harmony for a successful marital life. Some of his poems deal with domestic life. In these poems the poet draws memorable pictures of his parents and children. There is a confessional note also in them.
ALIENATION AND SEARCH FOR IDENTITY: The theme of alienation is central to Ezekiel's poetry. In some of his poems we find an emphatic expression to his social and cultural alienation. Once he says about himself:
A mugging Jew among the wolves
They told me that I had killed the Christ.
Apart from this, as a poet Ezekiel tries to explore his identity. In many of his poems he concentrates on self- analysis and introspection. His 'Case Study' is a fine example of it. Thus self- exploration and search for identity are the major themes of Ezekiel's poetry.
PHILOSOPHICAL AND RELIGIOUS POETRY: Ezekiel's poetry shows his philosophical and religious bent of mind. He always stresses the need of commitment, sincerity and integrity. His attitude to religion is rational, logical, secular and humanistic. He believes in the religion of love and charity.
POETIC STYLE: Ezekiel is great craftsman. He has a rich sense of humour and wit. To attack on absurdities and follies of life, he takes help of irony. He shows keen sense of form and structure. Words are chosen and used carefully. He frequently uses the colloquial English. His conversational tone is interesting. Ezekiel's symbols and images are evocative.
Task 3
1.write a note on the changing trends in Post Independence Indian writing in English?
If we take a look at the trends in Indian English fiction, we will be struck by realism that underlies this genre in the post-Independence period. We come across five broad types of realism – social realism, psychological realism, historical realism, mythical realism and magic realism in Indian English fiction. Women novelists like Kamala Markandaya, Nayantara Sehgal and Shashi Deshpande lay emphasis on social realism and family relationships. Markandaya’s Nectar in a Sieve and A Handful of Rice deal with stark social realism depicting how the transition in society affects family relationships. The woman in women’s fiction seeks an identity of her own, independent of her husband.
Post-Independence Indian English fiction is post-colonial Indian English fiction because it continues to evoke colonial legacies in the contemporary society and seeks to compete with English language fiction for international prizes like the Commonwealth Fiction Prize, and the Booker Prize, etc.
Notable among them in the post-Independent India are Salman Rushdie, Arundhathi Roy, Amitav Ghosh, Shashi Tharoor, Shashi Deshpande, Manju Kapur, Aravind Adiga and Chetan Baghat. But the post-modern writers like Rushdie and Ghosh had to delve deep into the impact of freedom on the Indians. A novel like The Hungry Tide by Ghosh clearly shows how the hard won freedom has not liberated the tribal people from the local oppressors. For another example, Manju Kapoor’s A Married Woman articulates a difference of freedom within the family. In fact, another kind of environmental and social freedom struggle continues in our country even today as represented by a number of writers, including Arundhathi Roy and Chetan Baghat. Roy and Bhagat have attracted a large following among the Indian youth. They have a clarion call for value clarification, which is the need of the hour.
Another trend is the translation of regional literatures into English. For example, almost the entire works of Premchand or Rabibndranath Tagore or Subramania Bharathi or Vijay Tendulkar or Vasudevan Nair are available in English not only for the English people but also for the people of the world who have some knowledge of English as a second or foreign language. Takazhi Sivasankarapillai’s Chemmeen, Kesava Reddy’s He Conquered the Jungle, Sundara Ramasamy’s Tale of a Tamarind Tree, U R Anantha Murthy’s Samsara and so on are great contributions to literature in English translation. Of these translated texts, we have a unique trend of women writers emerging on the national scene. A case in point is Mahasweta Devi of West Bengal. She is an activist-writer who has championed the cause of the marginalized tribal people in West Bengal in such works as “Draupati”. An interesting aspect of this creative translation is the work of Girish Karnad, for he wrote most of his plays in English but translated them into English himself. His plays from Tughlaq to Wedding Album point to the historical and social problems facing our country.
Yet another trend is the emergence of writers from the Dalit and other marginalized sections of the society. A remarkable work of international standing is Bama’s Karukku. Yet another work in this category is Ompuri Valmiki’s Joothan. These writings erase the distinction between fact and fiction. Some autobiographies of these writers are presented so vividly that they claim the status of great fiction. Further, the shocking plays of Mahesh Dattani and Manjula Padmanabhan belong to a different strand of margin, away from the mainstream literature.
2."India is not a country: says Raja Rao "India is an Idea, a metaphysic Explain with Examples ?
Raja Rao The Serpent and the Rope attempts a Portrait of the perennial India which being Perennial, is also modern In the Mahabharata all roads lead to Kurukshetra in the eternal city on the banks of holy river Ganga In his novel he almost Persuades us that he is right. By making Benares the Focus of his action as it were and by equating the Ganga with India's life stream Raja Rao does Succeed is realizing "national identity' in a sense not Possible to a novelist whose approach to the problem is made on the Wheel Of a political or economic ideology Of this Novel it may be certainly said that it is neither revivalist nor imitative of western models: it is autochthonous, it is modern and it does Conjure up the many dimensions of India's national identity.
(Words:2276)
Thank you… .
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