DRIVE: FALL 2015

PROGRAM:BA-ENGLISH
SEME:VI, SUBJECT CODE:603
ROLL NUMBER:1208030253

1. Write short notes on the following:

i) Gender Discrimination
ii) Quest for Identity
ANS: GENDER DISCRIMINATION: In the Indian literary scene, women writers in
particular gave an Indian touch to the themes of their novels by treating women as legitimate
subjects. The
backwardness, ignorance, and the web of superstitions in which women were entangled and
were presented as an epitome of understanding, sacrifice, and tolerance were all exposed in
their novels. During this era, the feminist consciousness came to be defined as the consciousness
of victimization, thus opposing womens submission to the patriarchal society
along with mens claims to define what is best for women. The women writers made the Indian
women rise against the male domination in their work of art and portrayed them as individuals
who have an identity of their own, thus making them free of any dependence syndrome. The
women writers projected a strikingly new image of the Indian women by portraying
them as human beings who contributed significantly to the growth and welfare of the society.
Toru Dutt, Kamala Markandaya, Attia Hosain, Ruth Prawer Jhabvala, Anita Desai, Nayantara
Sehgal, and Shashi Deshpande are the Indian luminaries from the newer league.
QUEST FOR IDENTITY: The quest for identity against self, against ones own family, and
against the social milieu has been the subject of many Indian English writings. Many
women poets have made attempts to explore the self and identity by writing confessional
poetry. Kamala Das poetry records her experiences and struggles she had to undergo in order
to redefine and assert her identity. She vehemently protested against the domination of the male
counterparts and the subsequent dwarfing of women. She opined that the women were
subjugated by their male counterparts and were expected to play certain conventional roles in
the society, and hence, did not pay attention to their own wishes and aspirations. The intensity
of protest is expressed in a conversational idiom and rhythm:
You called me wife,
I was taught to break saccharine into your tea and To offer at the right moment the vitamins.
Cowering Beneath your monstrous ego, I Became a dwarf. I lost my will and reason, to all your
Questions I mumbled incoherent replies. (The Old Playhouse)
Kamala Das was joined by Mamta Kalia, Eunice de Souza, Gauri
Deshpande, Sujata Bhatt, Lila Ray, Monika Verma and many more younger
poets in the quest for identity. Mukta Sambranis The Woman in This Room
and Menka Shivdasanis volume of poetry, Nirvana at Ten Rupees are good
examples of the journey to this quest. The concept of identity brings greater importance for the
minorities and marginalized groups who search for space among the larger cultural groups
by asserting their ethnic identity. With this we come to yet another most popular theme of PostColonialism.

2. Critically examine Tagores reflections on Art and Poetry.

ANS: Rabindranath Tagore chose poetry and art as his vehicle of
expression as he believed them to be the bridge between cultures and
between man and the world. For the world, he was the voice of Indias
spiritual heritage; for India, especially Bengal, he became a great living
institution. Like any great poet, Rabindranath Tagore was an idealist
and a visionary, and his thoughts on poetry were coloured by the same
vision and idealism. Although Rabindranath Tagore was the exponent
of various forms of fine artsliterary, visual and performing arts, he
was first and foremost a poet. In his own words, the moment I begin
to write poetry, I enter into my true self: true for all time. It was his
translation of Gitanjali that won him worldwide acclaim. His poetry is
the mainstay of his artistic expression; the other forms are but the byproducts of his creative genius. During intense experiences of life,
poetry or poetic drama would flow from Tagores pen. When the
agitation ceased and the excitement of imagination and creative urge
calmed down, he would comment on what had passed; he would
generalize and philosophize. His prose pieces provide a glimpse into the
realistic and transcendental.
3.How through her imagery, Sarojini Naidu brings to life the
contemporary Indian scenario, presenting not only beauty and life-like
pictures, but leading also to a better understanding of her poetry on
different levels other than the obvious literary meaning?
ANS: There is no doubt that Sarojini Naidus poetry is rich in lyricism;
the musicality inherent in them tends to sing themselves. Her poetry
abounds in imagery so powerful that the reader is bound to see and feel
the nuances thus created. However, the symbols used by her deserve a
mention of their own. With her imagery, she brings to life the
contemporary Indian scenario, presenting not only beauty and life-like
pictures, but leading also to a better understanding of her poetry on
different levels other than the obvious literary meaning. A symbol is
defined as something that stands for something else. Unlike a sign or
an image, it has complex meanings. E.g. the image of the snake is not
meant to evoke horror or fear in the reader. The snake, in the Indian
context, is a symbol of God and thus is revered and worshipped.
Sarojini Naidu makes use of the symbol of the snake in various poems.
In Summer Woods, the snake symbolises wisdom, universal God. In the
poem If You Call Me, the image of the snake dancing to the charmers
flute reflects the control of the charmer on the snake. Thus, the same
object portrayed differently may have different connotations.
The union of Krishna and Radha in Summer Woods show the union of
dark night and lustrous dawn producing delightKrishna is the Dark
One and Radha is fair. Nature thus becomes a symbol of that centre of
delight that is the resultant beauty and harmony. Sarojini Naidu, in her
poetry, conveys to us that the charming beauty of Nature is the
consummate beauty of the Eternal Truth. Dawn symbolises happiness,
goodness, new hopes and dreams after the purging of sadness, tiredness
and disappointments in the passing of the night. The yearning of the
beloved in If You Call Me symbolises the longing of the finite to lose
itself in the Infinite, in the tradition of devotional songs. In the

Palanquin Bearers, the woman sitting in the palanquin is not only a

symbol of beauty, but also of honour and respect of the society and
country that she belongs to. In her, lie the honour, the respect and the
dignity of Indian womanhood. In The Purdah Nashin, the purdah
symbolises feudalism and the restriction of freedom of women in a
patriarchal society.
4. Write a note on English Drama in India.
ANS: Indian drama is as ancient as the Vedas. Its inception can
be traced back to the Vedic period and commenced with Sanskrit
plays. It is observed that Indian tradition, preserved in the
Natyashashtra, the oldest of the texts of the theory of drama,
claims for the drama divine origin, and a close connection with
the sacred Vedas themselves. (Keith, A.B., The Sanskrit Drama,
Delhi. Motilal Banarasidas, 1992, p 12.). Bharat Munis treatise is
a complete work of dramaturgy in the ancient worldaddressing
acting, dance, music, dramatic construction, architecture,
costuming, make-up, props, the organisation of companies, the
audience, competitions, while offering a mythological account of
the origin of the theatre. Based on religious scriptures, myths,
legends, etc.,dramas were initially enacted in temples and were
associated with religious activities, like festivals.Under the
patronageof kings and village assemblies, drama flourished and
gained popularity as a source of entertainment, too. Some of the
famous early playwrights are Kalidasa, Bhasa, Sudraka,
Asvaghosa, Dandin, and Emperor Harsha. However, the invasions
on India and political changes took their toll on the development
of drama,especially the continuity of Sanskrit drama, even
though the vernacular Prakrit drama continued as a
mode of entertainment and enlightenment. Gradually, distinct
styles of dramaturgy evolved as an illustration of the rich mores
of Indian traditions, rituals, customs and ethnicity. Even today,
these regional forms exist and are enjoyed in almost all states. The
Bhaona of Assam, the Jatra of Bengal, Ramlila in North India,and
Kathakali in Kerala are some prime examples of
such forms. With the passage of time, Indian drama became
increasingly contemporary as it began depicting the socioeconomic and political scenarios of India realistically. Drama
became a true representation of the un-edited reality of
India and no longer was the lofty narratives of heroes and
celestial beings as in Sanskrit drama. The arrival of the British in
India and the exposure to the west awakened, what K.R.S.
Iyengar puts as, the dormant, critical impulse in the country to
bring Indians face to face with new forms of life and literature,
and to open the way for a fruitful cross fertilization of ideas, and
forms of expression. In the literary field, while Indian English
prose and poetry flourished, drama just about staggered on.In
1789, Sir William Jones translated Shakuntala by Kalidasa, which
had become quite famous among the British. The play was
successful enough to merit insightful impression on scholars like
Goethe and created a sensation in the literary world.Several
Indian dramatists, at that time, tried their hands at writing plays.
In fact, most Indian plays in English were translationssome by

the writers themselves. Very few plays were written in English

originally. In fact, Indian English drama had a stunted growth
because of the lack of stage-worthy plays. Drama, as an audiovisual medium of expression, required great care and conscious
effortnot only from the performers, but also from the audience
and the script-writer. Language, too, posed a challenge, for
capturing Indianness in English demanded a different creation
for Indian English theatre to be convincing. The saga of English
drama in India, which began during the British Imperialism,
continues and is an eminent part of the theatre forms in India.
Blending the Eastern and Western forms has allowed Indian
drama in English to stand apart with dignity and pride as a
distinct art form in its own right.
5.Write an introduction to the author R.K. Narayan.
ANS: R.K. Narayan is hailed as one of the Big Three R who
contributed immensely to the realm of Indian English Literature.
Though Indian English literature had gained international
recognition through the works of earlier writers, like
Rabindranath Tagore, Sarojini Naidu, Sri Aurobindo, Jawaharlal
Nehru and Mahatma Gandhi, it is the writings of the educated
younger writers who followed that developed it into a substantial
body of literature. While the generation of Tagore and Naidu
planted the seeds, the tree prospered under the Big ThreeRaja
Rao, R.K. Narayan and Mulk Raj Anand. Indian English
literature flourished and continues to do so, reaching ever higher
peaks of excellence. A master storyteller, R.K. Narayan wrote with
the sole aim of providing aesthetic satisfaction through his art. His
stories were not meant to be a vehicle of propaganda or to serve
some social purpose. The language he uses is elegant and simple,
thereby endearing himself to the child and the adult alike. He
wielded his pen like a magic wand, creating an enchanting
fictional world of human beings and animals with a dexterity that
made them real. Rasipuram Krishnaswami Narayanswami,
popularly known as R.K. Narayan, was born to Krishnaswami
Iyer and Gnanambal on 10th October 1906 at his maternal
grandmothers home in Madras. He was the third of eight
children. As his mother was too busy and enervated with a
succession of deliveries to find time and energy for the surviving
children, Narayans grandmother, Ammani, reared him in
Madras, while his parents were settled in Mysore. Ammani was
the single most endearing influence of his childhood. A selfeducated woman, conversant in Sanskrit and to some extent
English, she found several ways to serve the neighbourhood.
Narayan inherited her love for gardening and her sense of
humour. During his stay with his grandmother, Narayan received
non-formal education, including the knowledge of the various
ragas of Carnatic music. Narayans father was also a lover of
Carnatic music and offered hospitality to a number of visiting
maestros. Music remained a chief source of entertainment
throughout Narayans life. When he was sixteen, Narayan moved
to Mysore, where he joined his fathers school and continued to
diligently dislike studies. Narayans father, Krishnaswami Iyer,

belonged to the rising English educated middle-class of India. He

was the headmaster of a school in Mysore. As the headmaster, he
was strict and did not spare the rod. However, he had little faith in
the contemporary system of examination. Krishnaswami Iyer
passed on his love for literature and language to his family.
Laxman, Narayans brother and celebrated cartoonist, is said to
have commented that while lapses in regional languages were
viewed lightly by their father, a grammatical lapse in English was
frowned upon in no small way. Narayan inherited his skills of
narration from his mother, Gnanambal. A lively and spirited lady,
she was a modern Hindu woman. Even after several childbirths,
Gnanambal would be found playing tennis at the Ladies Club of
Mysore wrapped in her nine-yard sari, and she was rated high.
She also played badminton, putting, chess and cards with
dexterity. She was a great fan of Tamil movies. As already
mentioned, she was blessed with narrative skills and a vibrant
sense of humour like her mother. Gnanambal could
always be counted upon to be sympathetic. She strengthened in
Narayan the ethic of purposeful activity. Narayans social activism
a writer as citizenmay be said to have been inherited from his
mother and her familyhis grandmother and uncle. In 1935,
Narayan met his future wife, Rajam. It was love at first sight. And
although it was very unconventional, Narayan straightaway went
to the girls father and proposed marriage. Nageshwara Iyer,
Rajams father, was very impressed by his frankness and honesty
and agreed to the marriage, but then, their horoscopes did not
match. Narayan was not to be put off so easily. He managed an
astrologer who at the sight of rupees found that the horoscopes
held no flaw and matched. Moreover, the girls parents
understood that he came from a good and large family, and if any
untoward incident took place, Rajam would be taken care of. In
several of his narratives, R.K. Narayan refers to this incident.
R.K. Narayan began his literary journey with children depicted in
Swami and Friends. In 1989, Narayan was nominated to Rajya
Sabha. During his six-year term, he spoke only oncepleading for
a ban on the heavily loaded schoolbags children were burdened
with. He also argued against the senseless formality of the tie
which was an anachronism even in the adult world.He continued
to be a true friend of children till his death on 13th May, 2001.
6.Examine how Chetan Bhagat is the most popular
novelist today?
ANS: Chetan Bhagat is the most popular novelist today.
His works have been on best-seller lists since their release.
That his novels are best-sellers reveals the readability of
his works. Bhagat has made himself known to the world as
the voice of the youth. He portrays the new generation in
the contemporary milieu. Exploring their angst and
anxieties, their dreams and aspirations, his books have
found an increasing readership among the youth of today.
They can very well empathise with the characters and the
situations depicted in the novels. The characters in
Bhagats novels are individuals, as well as types. This

allows the new generation to empathise with the

characters. They find themselves in the middle-class urban
characters, struggling for a better life. Bhagat explores
their woesparental pressure, masculinity insecurities,
competition in college and work place, friendship issues,
gender biases, dating issues, sexual fantasies, love, drug
addiction, heartbreak, family issues, obsession with sports,
failures, and so on. The younger generation immediately
identifies with the characters in these books. The settings
are easily relatable for his young readers. The plight of the
modern generation is beautifully portrayed in One Night
@
The Call Center. The concept of a Call center is in itself a
typical product of contemporary globalisation. Besides his
themes, settings and characters, Bhagats art of narration
is in itself commendable. His narrative is fast-paced. In
One Night @ The Call Center,Bhagat puts himself in the
story through the frame-story. He ensures that the story
moves in the present and fast by making Shyam the
narrator. Though the main story is in flash-back,
Shyamsnarration renders an immediacy to the events in
the story. With very little time for a leisurely read, Chetan
Bhagats narration adds to the popularity of his books.
Moreover, the language used is English, the language with
the widest reach. His use of simple words and colloquial
speech makes his writing more accessible. He peppers it
with idiomatic phrases and Hinglisha mix of Hindi and
Englishpopular among the new generation, thereby
making the language of the novel that of his target readers.