Foregrounding as the process of word formation.

Foregrounding is a technique within literary works whereby authors creates ‘defamiliarization’ through linguistic dislocation that draws readers’ attention to the strangeness of the word or context (in a literary work). The term defamiliarization here refers to creation of something with which people aren’t actually familiar with; something that doesn’t falls in the age old followed pattern and methodology of the literary writing. It is an act of making something stand out of the usual surrounding of words and convey a distinctively separate meaning. Foregrounding functions in correlation to the background and clarifies the background meaning and thus the whole context. However in terms to the literary works things somewhat gets symbolic; by symbolic it is meant that they turn more figurative than precise, exact and direct. Their meanings are to be understood in reference to the context they are written, i.e. to be interpreted in the organic unity of the entire literary text.
This process which helps understand the meaning of the literary works (especially poetry)  is called ‘foregrounding’, where some pieces of information are prioritised more than the other one. The information prioritised are called the ‘foregrounded’, whose meanings stand out and are remembered; and the ones that have their meaning hidden behind the foregrounded and meaning merged into the general scene are ‘backgrounded’ information; as for instance in the poetry where there are foregrounded meanings of the text given/written.  The foregrounded text provides logical connection betwixt what comes afore and later. These foregrounded words however are sneaking tremendously into the day-to-day used language. Foregrounding doesn’t solely functions on its own, rather uses some devices to perform its functioning, which are:

Parallelism: - Parallel constructions are the ones wherein one structure seems equivalent or parallel to one another but the meaning of the two structures are rather belied. It is the manifestation of antithesis, consisting of phrases or sentences of similar construction and meaning placed alongside to balance each other. There are two major ways of parallelism:
   Grammatical Parallelism: - It is done by placing the words with similar or rather same number of syllables or structure together in coordination. The grammatical parallelism may procure both, the similar or the contradictory meaning of the alongside used words. The basic structural construct is based on the use of rhyme like cold, behold or gratitude, servitude etc or words repetition like Kills, kills or parallels in rhythm or parallels in grammatical structure etc.
   Phonological Parallelism: - This foregrounding creates a parallel structure phonologically. The foregrounding via this comprises of phonologically similar structures side by side creating foregrounding in multiple ways such as via use of alliteration, internal rhyme, meter and other forms of rhythmic pattern along with vowel sounds with or without rhyme e and the use of back and front vowels helps creation of phonological parallelism. They are built on the potential of a language and consequent in greater regularity in the language patterning compared to normal one in the flow of ordinary speech hence drawing our greater attention. Examples: →We’re the hollow men (The Hollow Men: T.S. Eliot)
The word hollow, instead of being used literally, has been used symbolically and is representative of the lack of feelings within those men for some reason.
→Tyger Tyger, burning bright,
In the forest of the night; (The Tyger: William Blake)
The word tiger is written differently to grab attention of the word along with the rhyme alliteration is used to balance one line with the other.

Deviation: - As the name itself suggests, this foregrounding is the deviation from the normal set of rules and orthodox methods of literary writing substituted with that of the newly devised, unique and different methodology. They are the unexpected irregularity in the literary work. Literary texts written via deviation evolve to develop a new and broader prospective of not just fathoming but presenting the ideas and thoughts via literary works.
Examples: →Wou’d you your writings to some Palate fit (Alexander Pope: Couplet on Wit)
The way of sentence construction is indicative of something amiss after the word ‘you’ which if simply put suggests a simple question ‘would you let your writings to fit in a palate?’
→Some few in that (Alexander Pope: An Essay on Criticism
The word ‘few’ regardless being a quantitative adjective has been used as verb to highlight the fact of some people’s skill in deceit and misleading.
       Thus conclusively foregrounding is hence the presentation and portrayal of ideas and thoughts in a distinctively unique, different and unorthodox ways and patterns of literary writings.

Cheif characteristics of Human Language which are absent in animals.

Human growth and evolution greatly surpasses that of entire animal kingdom in numerous ways. Unlike the animals they possess an entire linguistic framework that forms their communication whether it is oral or written. This linguistic growth and development thus facilitates them to have broader and better communicative skill than the other living creatures which is unquestionably result of the massive intellect and knowledge they possess through their greatly developed mind. There are thus numerous attributes that are available in the human communication but almost entirely absent in the animal communication.

Phonemes/ Duality of Sound: The animal community lacks the duality of articulation of speech sounds which is a prominent attribute of humanly articulation. Double articulation means the basic sounds enabling the word formation and hence the communication. Most of the animals use these basic sounds probably just once whereas the humans in their every language possess 30-40 sounds such as a… p… t… k… etc which in their crude form are useless and are thus later combined to form a meaningful word or the sentence and thus creating a duality or double articulation.

Word Formation: Animal language doesn’t have any formation of new words and rather doesn’t even use words for their communication; they just have a single sound pattern that they use in various tones or pitches to convey different feelings or desires. Humans on the other hand are full of words and phrases and sentences to convey their feelings and emotions and thus can express themselves more easily and conveniently than animals owing to the complete absence of word formation ability of the animals in their entire kingdom.

Whimsicality:  The animal system of communication lacks whimsicality owing to the fact that not just they have a limited manner or mode of communication and the limited availability of the sound that they produce; humans on the other hand have an whimsical articulation of the speech sounds and the sounds used for referring to certain objects have in reality no any direct link with the said sound and are rather a humanly objectified things or commodities or reference which may even be shifted to something entirely differently else on their will. This attribute is absent in the animal communication and they have no any whimsical articulation of sound, rather certain limited sounds (depending upon the species) used for some limited purposes.

Patterning: Patterning refers to the formation of words or sentences based on certain rules and guidelines and since the animals entirely lack the phonetics and the ability to create new words, the patterning is yet another thing absent in the animal kingdom.

Displacement: It refers to the phenomenon of expressing via language the absent things in the very same way as one would do the things present before him. Simply put, it represents the idea or view expressed by humans about various things or experienced gain by them differently at different times and places and expressing them in such a manner that the listener may not just understand  it but also frame a mental picture of that thought or ideas as if it’s their own experience. This however is not possible with the animals who can't really communicate  their past experiences or feelings and emotions until they come forth in the present again and that too not as the humans. They just can react the very same way as previously done by listening to some specific words or sounds in the present time acting as a form of stimulus to trigger the feelings of the past experiences as conveniently as humans.

Creativity: Human beings owing to their linguistic ability also possess language creativity which is almost absent in the animals. Although animals do produce some varied kind of sounds which may seem creative for an instance but actually are just the variation of same sound they articulate unlike the humans who are not just creative in articulating different kinds o f sounds but also creating different kinds of words and phrases even those that never ever existed; this’ the reason they’re able to name the sounds produced by different animals or other living species.

Indianization of English & the devices used in the process of Indianization.

Intro:- English has never been the native language of India. Regardless it's cumulative usage across the country almost supersedes eighty million people and that too in a country with nineteen other national languages along with numerous dialects are spoken across the country. The root of English in India can be traced back to 1600AD dated 31st December when few English merchants were granted charter by Queen Elizabeth I for a monopolistic trade with India and East; since the purpose at first was solely trade so mere influx of some English & Indian words across both languages for trading communication. But gradually with annexation of Indian princely states it became language of education in India in 1835 and was made the official language of then govt. in 1837 thus marking the ratification of English in India.
Indianization of English is the process through which the form of English is changed, altered or rather modified with the view to make it more conveniently acceptable and useable for Indian speakers or users. This process involves not just change in any of the communicative form of English rather both the communicative forms viz. oral and written. The oral change involves primarily the change in the way of pronunciation i.e. accent of the said language which in India, since it is a country of diversified language, related to the accent of the regional or state vise (native) language used by the Indian English speakers. Along with, the change also involves use of pidgins at times to enable a convenient means of communication. The varied changes in the language i.e. English since involves prominently the oral changes thus makes it a more complex task than it may seem and hence involves use of some instruments or devices of change to make it more apt and valid, which are as under:

Language of the country :- The major device or tools in Indianization of English are the major language of India viz. Hindi &Urdu which adds up many words of in English language; so are the words of some other languages giving their minor contribution to the language. For instance words like Satyagrah, Dhoti, Pundit, Bandh, Dharna etc are now the part of English language.

Translation:-Translation is the establishment of similar equality or equivalent words of one language into the other one so as to form a language or linguistic correlation amongst them. For instance the words like, god-love, salt-spoiler have been translated into their equivalents as iswar prem and namak-haram respectively.

Shift/ Borrowing :- The Indianisation of English via shift encompasses following aspects, the shifting words may deviate grammatically from American and British words formation, they may involve loan shifts from Indian language and they as well may have some phrases used in English which actually are solely part of Indian Cultural Context.

Impact of the socio cultural norms :-The Indianization of English differs largely form the native English and differ in the choices of words, imagery, nuances of meaning and the communication strategy of the words weather oral or verbal and very clearly posses English flavour.

Psychology/ Reduction of Incongruence or Misfit :- The use of Indian English on day-to-day basis consequently led to a simplified understanding of the context hence making language easier, simpler and easily adaptable and highly effective to catch attention.

Difference between Jacobean Drama and Elizabethan Drama

Difference between Jacobean Drama and Elizabethan Drama

Elizabethan era refers to the era of Queen Elizabeth which was from 1562-1642. The dramas and the dramatic works that were created and performed during this era are known as Elizabethan drama. The Elizabethan era compares several renowned and well known dramatic works by renowned dramatists. The major and significant playwrights of the period were Christopher Marlow (1564-1593), Shakespeare (1564-1616), Peele (1558-1597), Lyly (1554-1606) and Greene (1560-1592). It is entirely unquestionable issue to regard Shakespeare as the greatest dramatist of not just the Elizabethan era but of all the times throughout. But before going to Shakespeare several others features and aspects of the age are to be taken into consideration along with many other significant and contemporary playwrights of the period.

Beginning and the features: In the beginning of the Elizabeth age the drama was in struggling into its maturity unlike the early period in which the drama was scholarly and aristocratic in authority. The dramas of the Elizabethan era were largely dependent upon the remarkable imagination of the dramatists and their great skill of great writing. Thus the dramas of the Elizabethan era had emphasis entirely not just upon the dramas that were appreciated by the public but also were socially acceptable through their language and content. As such the language of the dramatists was very refined and standard backed up by sensation.

        Dramatic Progress:  With the shift of drama from religious to a secular function in society playwrights and poets were among the leading artists of the age. Towards the end of the seventeenth century the popularity and progress of drama kept on increasing throughout the time. Thus the dramatic works of various renowned playwrights viz. William Shakespeare, Christopher Marlow, Robert Greene, John Lyly and Thomas Lodge etc gained very profound fame.

        Comedy of Manner: One of the prominent features of the Elizabeth feature of the Elizabethan drama was ‘Comedy of Manner’. In this the social manners of the contemporary society were highlighted by the playwrights. The characters of the dramas were portrayed as the true representatives of the entire age. The playwrights in this age were concerned with highlighting the follies and vices of the sophisticated society in a very amusing manner; although their description acquired a bit of exaggeration but yet they were successful in conveying their idea thus attracting huge number of crowd audience to the theatre. Ex William Shakespeare’s ‘As You Like It, Merchant of Venice etc.

        Dramatic Works: Amongst the renowned dramatic works was Christopher Marlow’s ‘Turbulaine the Great’ (1857), Jew of Malta (1589), and Dr Fantus, Thomas Keate’s ‘The Spanish Tragedy, proving a roaring success became ‘exemplar of the Elizabethan Revenge’ tradition. The incomparable works of Shakespeare including Hamlet, Macbeth, Othello etc, along with George Peele’s ‘The Chronicles of Edward I (1590), Marlow’s ‘Edward II’, ‘The Massacre of Paris’ etc.

     JACOBEAN ERA had its beginning marked by the Elizabethan dramas falling into neglect in around 16^th century. The famous dramatists of the Elizabethan era were taken over by that of Jacobean era. The famous and renowned dramatists of the era were Ben Johnson, John Marsh (1575-1634), Thomas Middleton (1570-162- ), George Champman (1539-1634), Francis Beaumont (1584-1616) and John Fletcher (1579-1625).

        Features: The Jacobean dramatists undertook to more realistic way of writing. They enormously enhanced the sensational level of writing within their dramatic work. Consequently the dramatic works of the Jacobean age gained the description and sequences of murder, blood, loot and many such criminal sequences became a casual part of the Jacobean dramatic writings. The Shakespeare contemporaries like Beaumont and Fletcher were amongst the prominent ones to do this in their plays. The standard and the classicism of dramas established in the Elizabethan era started getting a downfall as the primary focus of the dramatists shifted towards producing evil and licentious scheme for their own sake making the character and situation immortal to the extent that the stage became frivolous, bad and improper representation of the dramatic actions, thus making drama of cheap nature and quality.

        Divisions: Unlike the Elizabethan age, the Jacobean era had dramas divided into two classes; one were those dramatists who were of the Elizabethan era and the others were the dramatists of the Jacobean era. They were divided as:

1.    The dramatists of the Old School, comprising of Decker Heywood, Webster, Fletcher, Beaumont, Fletcher.

2.   The Satiric group consisting of Chapman, Johnson, Marston, Middleton and Tourneur.

These groups of satiric play especially Ben Johnson were fond of mocking the old school dramatists. He had lack of sympathy in portrayal of both life and character.

        Comedy of Humor: Unlike the Elizabethan age the Jacobean age having an entirely identical satirical group had also the comedy of humour. The comedy of humour mainly deals with the oddities of the characters i.e. the odd features and characteristics of the character. It represented and threw a whimsical and shadow over the life of the character. Also the aim of the playwrights is to have in the character, a dominance of humor in their personality. Some prominent examples of Comedy of Humor are Ben Johnson’s ‘Every Man In His Humor’ (1598), ‘The Alchemist’, ‘Every Man Out of His Humor’ (1599).

     Dramatic Works: The great dramatic works of the Jacobean era were Thomas Dekker’s ‘The Shoemaker’s Holiday, Thomas Heywood’s ‘A Woman Killed with Kindness’, John Webster is famous for his two renowned plays ‘The White Devil’ and ‘The Duchess of the Malfi’. Among the other plays the Philaster and the ‘Maid’s Tragedy’ were amongst the prominent ones.

Thus it can be fairly concluded that the Elizabethan and Jacobean dramas hold a considerate differences and distinctions amongst themselves.

ARISTOTLE’S CONCEPT OF COMPLEX PLOT

Aristotle’s concept of plot is entirely based and dependent upon his concept of tragedy. The reason being, his concept of plot is a constituent of his concept over tragedy of which Plot is also one of the five constituent. Thus according to Aristotle tragedy means “Imitation of an action that is serious, complete, and of a certain magnitude, in a language embellished with each kind of artistic ornament, the separate kinds being found in separate parts of the play; in the form of action not of narrative; through pity and fear affecting the proper catharsis of these emotions.” This concept of tragedy states its six constituents viz. plot, character, thought, diction, melody and spectacle.

        So the term plot, as a constituent of the tragedy refers to a component that determines the meaning of the play. According to Aristotle plot means “the arrangements of the incidents.” i.e. the ways and sequences are presented in the story. Aristotle divided the plots into two categories viz. ‘Simple Plot’ and ‘Complex Plot’. Of this, the simple plot he stated as an action which is continuous and one, is called Simple Plot. Complex Plot on the other hand was given quiet special treatment by Aristotle. According to him the complex plot consists of either ‘Peripeteia’ or ‘the reversal of intention’ and ‘Anagnorisis’ or ‘recognition’ connected with ‘catastrophe’. In order to properly understand complex plot, both of these constituents are to be given due consideration.

        Peripeteia: According to Aristotle, Peripeteia occurs when a character performs an action and this becomes the cause of giving rise to an effect which is contrary of that effect which he intends to produce. In other words, it is the sudden reversal or inversion of desired effect which were supposed and expected to occur. The English form of Peripeteia is Peripety. Aristotle defines Peripeteia as “A change by which actions veers round in its opposite subject always to our rules of probability or necessity.” Example, In Hamlet it occurs when Hamlet draws the sword out of avenge from Claudius against his father’s murder but hesitates seeing him praying and believing that he would go to heaven if he’s killed now.

        The reversal of the situation or the change of fortune form the hero should occur in the manner which is contrary of what has been expected by the audience which is equally surprising but is still a justifiable consequence or the effect of the preceding cause, responsible for undergoing such effect. According to Aristotle Peripeteia along with discovery is more effective when the reversal that occurs in drama is negative. Yet Peripeteia is not confined to only form of being negative. It can be equally positive as negative or vice-versa. Peripeteia consequently leads to anagnorisis or the discovery of the true facts. Soon after Peripeteia a new discovery or revelation (termed as anagnorisis) takes place.

The termed being a Greek one, in its Greek sense also means recognition, not only of a person but also of what that person represented. For instance if the protagonist who faces the situation of Peripeteia is further, revealed of the anagnorisis or the ultimate truth after the truth that he knew turns out to be contrary. Finally it is a perception that results in an insight with the hero, often revealing his relation with the antagonistic character within Aristotelian tragedy. (In Aristotelian tragedy it was the discovery of one’s own identity or true character of someone else’s identity or true nature by tragic hero). Thus Anagnorisis in Aristotle’s words can be concluded as a change from ignorance to knowledge producing love or hate between the persons destined by the poor or proper fortune. Ex. Oedipus, despite his attempt of changing his fate of killing his father and marrying his mother, does the same in ignorance and later on the truth is revealed to him, which turns out to be entirely unexpected. Thus anagnorisis is caused as a result of Peripeteia.

Conclusively, both these factors or concepts of peripety and anagnorisis being the major components of a complex plot hence declaring it a complex situation which progresses in a very complicated manner and further turns out to be contrary and inverse of as it should have been in actual as of peripeteia. Thus consequently the anagnorisis occurs which reveals the true fact (after the inversion of the situation) which was unknown and in  its stead something else was known; now after the other thing has turned out wrong the actual truth is revealed or disclosed later and thus forming or making the plot very complex. Now at last after the actual situation turns out to be contrary or distinct of previous situation truth has also to be revealed which is done through anagnorisis. Thus consequently making the plot complicated and complex. Thus, this is the concept of the complex plot in respect of Aristotle’s concept of the complex plot.

Derivation and Inflection

DERIVATION

Derivation is the process of formation of a new word from that of some existing words as the base or the root of this newly formed words. The process involved in the formation of the new word is addition of morpheme in the form of an affix (either prefix or suffix or both sometimes).The addition of the word or the affix takes place to the words of one lexical category (part of speech) and changes the words of some distinct and different category. For instance, the suffix ‘ly’, changes or transforms an adjective ‘true’ into an adverb ‘truly’ or ‘able’ as a suffix changes the word ‘presume’ to ‘presumable’; so on and so forth.

            Derivation has some characteristics, discussed under:

Ø Derivation on its occurrence brings about a great change in the meaning compared to the original or the root word.

Ø It often results in the grammatical change or the change of grammatical category of the word.

Ø Derivation is not an obligatory process.

Ø It although results in the idiosyncratic meaning of the transformed word.

Some examples are discussed below:

Ø Kind becomes the root word of Kindness.

Ø Joyful for the word Joy

English Derivative Pattern and their Suffixes:-

Noun to Verb: ‘fy’: glory-glorify

Verb to Noun(agent): ‘er: write- writer

Verb to Noun(abstract): ‘ance’: deliver-deliverance

Noun to Adjective :’al’: creation-creational

Adjective to Noun:- ‘ness’: Slow-Slowness

Verb to Adjective: ‘able’-drink-drinkable

Adjective to Verb: ‘ise’: Modern-modernise

Adjective to Adjective:- ‘ish’- black-blackish

Adjective to Adverb:- ‘ly’- person-personally

            However derivation is not necessary to undertake a change of form but rather the same word can be used for two purposes viz. Telephone as noun and to Telephone where it’s used as a verb. Also derivation resulting in a noun may be called Nominalization, involving the use an affix (Happy-happiness, employ-employee)

INFLECTION

Inflection in general refers to the nuance or the variety of same word. It is the grammatical variant of the same word which results in the change of  the form of a word purposed to express a grammatical function or attribute such as tense, person, gender, case etc by means of adding one or two affixes; or the modification of the same word to express different grammatical categories viz. gender, tense etc. In English inflection is indicated in nouns (girl, girls, girls‘), third person singular present tense ( i, you, we, they buy; he buys), past tense (we walked, we walk), aspect ( i have called, I am calling) and degree:-comparatives (big, bigger, biggest). Also some inflection, changes occur as in, sing, sang, sung or goose, geese. Unlike derivation inflection doesn’t change the lexical or grammatical category of the word. In terms of their position, they occur outside the derivational affixes and affect the information such as number, gender or aspect. Inflective words are highly productive in nature as they result in the formation or generation of the words of the same type and further lead to the creation of the forms that are fully grounded and able to be integrated into discourse.

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Theory of Impersonality

Theory of impersonality refers to the concept of impersonal relationship between a man as a poet and as a general man. According to the renderer of this concept T.S.Eliot, a poet should have two distinct personalities and he as a poet should uphold no any relation with that of his personal self while composing his poetry. That is to say the poet entirely disregards the autobiographical nature of the poetry as was prevalent in the romantic age. Eliot says that while composing poetry a poet shouldn’t have a personal self or being which is backed up by several personal experiences or backgrounds and whilst composing poetry he shouldn’t be even slightly influenced by any of his personal, historical experiences that may lay even a minimal impact over his poetic composition. The personal experiences are not to be associated with the theme of the poetic composition but rather to be kept identical and separate from it. As of this reason he even regards two constituents of composing the poetry; the personal elements, i.e. the feelings and emotions of the poet and the other one being ‘the impersonal element’ which is the ‘tradition’ or the accumulated knowledge, information and wisdom acquired from the past by the poet. These two elements fuse together to form a new thing, which is called poem.

            The emotions and feelings however uphold an inferior or lower place to thought and feelings and according to Eliot poetry instead of being an expression of emotions is rather an escape from the personal emotions. The primary reason being, if the emotion that the poet uses, which is moreover his personal emotion, to write his poetry and if he’s intermingling them with his poetry then he is making his work rather more personal than general. Moreover the personal experiences that he has are resultants of some emotions that he had previously experienced as a distinct man than a poet; these emotions are since his own and so are his words that he uses in expressing those emotions of his. These words however since considers his personal emotions may or may not concern the readers.

A poetic composition by a poet, in general, is done for the masses or the readers to read for masses to read for and not for his own personal sake to attain an emotional balance by giving words to his contained unexpressed emotions. His emotions are, on the other hand, not necessary to be the same as that of the readers and thus the poet stands a very low chance of sympathy or empathy through it, which according to Eliot is highly likely and thus becomes the basis of his rejection of same personality or being working as a poet and himself instead of keeping both the personalities estranged as far as practicable. Also, the composition based on own personal feelings mightn’t yield enough readers to the poetry thus consequently harming and hampering the person’s status as a poet. Thus Eliot propounded this theory to distinguish both the personalities to make poems more artistic than emotional works.   

Ganesh's Life at Fuente Grove

GANESH’S LIFE AT FUENTE GROVE

Ganesh Ramsumair’s life at Fuente Grove starts with the house received by him from his father-in-law Ramlogan in dowry. He has high expectations from the house along with the entire place and it would bring him great things ahead. So does happens with Ganesh that despite of a bad start at the place it was only through this place that Ganesh gains the entire name and fame and yields not only for himself but the entire place, a remarkable reform and positive changes in the following ways.

          Ganesh’s life at Fuente Grove gets a bad and unexpected start. The house he receives in dowry is much smaller than his expectation along with the poor road and water conditions to go on with in that place. Beharry is his only friend there from whom Ganesh takes the books for reading. In order to make income Ganesh tries the same thing of being masseur but presence of many masseurs and his way of treating patients gradually makes him deprived of the patients. Later Ganesh begins more and more reading by ordering free books and purchasing from Beharry. He plans for writing books but couldn’t do it. Nothing seems to be going correct for him but Leela’s leaving him and Beharry’s persuasion makes him write a book named ‘A Hundred Question and Answers on the Hindu Religion’ by Ganesh Ramsumair, B.A. Things at first seem to be going good for him but lack of sale of his books leaves him in despair once again.

          Owing to his current failure Ganesh is advised to be a pundit and is gives respective books by The Great Belcher belonging previously to his uncle. Gradually Ganesh shifts back to his masseur work and begin gaining enormous popularity not just because of curing a boy but also charging no fixed sum. Things grow better when he takes up Ramlogan’s earning opportunity by coaxingly buying his taxis, charging too much money from Fuente Grove’s Ganesh’s customers thus making more profit; also his ‘Question and Answers’ become successful. Owing to his fames both Beharry and even entire Fuente Grove’s condition is improved.

          Another changing course at Fuente Grove takes when a jealous man Narayan’s articles criticising and competing Ganesh starts coming up. Initially Ganesh ignores them but on being pursued by Beharry and The Great Belcher he decides taking up action against him thus in turn opening his way towards politics. He publishes his own newspaper somewhat against Narayan and even opens his own Hindu League against Narayan’s Hindu Association and by proposing his aim of uniting all Hindus along with his reputation as masseur earns him many favours. He gradually forces down Narayan to back off. At last at Fuente Grove Ganesh fights the cleanest election. Thus he leaves his career as a masseur. He wins the election with clear majority. After the election Ganesh becomes Member of Legislative Council and decides leaving Fuente Grove to Port of Spain, giving great and remarkable developments to entire Fuente Grove.

THAT LONG SILENCE AS A FEMININE TEXT

That long silence by Shashi Deshpande is undoubtedly a remarkable example of a feminist novel. Through the novel not just the pauper condition of novel’s female character but rather the true facet most of the Hindu women’s life has been highlighted. It can primarily be noticed by the fact of novelist’s choosing to write as Jaya, not just to evoke a feeling of sympathy and empathy but also to clearly present the hardships that a woman faces.  Many more instances make an integral part of the novel to present the feminist aspect of the novel to regard this as a feminist novel and Jaya’s character too plays a vital role in serving this purpose.

        As the title “That Long Silence” itself suggests, Jaya as a traditional woman has been presented as the embodiment of tolerance and gusty sufferer. She is presented as a woman who always keeps on complying with all the traditional norms and regulations she’s bound to follow and moreover keeps on looking after her family. But despite all these facts, she’s expected more and more without anyone to ponder of what she wishes for. She is torn between the likings and disliking and love and hate where she is least entitled to pursue any free action and rather has to remain submissive to her husband who rather uses her as someone or something of his own benefit. Despite all her efforts she is complained by her husband Mohan who in his fear and disgust of being suspended and facing social humiliation for his fraud respectively of being a changed woman; thus showing the feminist hardships. While at the same time Jaya still remains a love impoverish receiving no love from him; which further displays Jaya’s affinity to a deprived.

        Novelist, as a psychological solution to these feminist hardships shows Jaya’s change of character to an egotistic person who in response to all sufferings chooses to become a novelist, while still being love deprived throughout. The elements of pester, humiliation and disgust takes her past the traditional boundaries. This aspect of Jaya’s character presents her modern feminine awakening. She writes under the pseudonym of Suhasini and is further reproached by her husband for the same. Another aspect of Jaya’s feminine character is shown through her stinted and un-intact psyche after transforming into and egotist. Despite being a strong woman she couldn’t cope up with the change and is in the state of remorse; a time when she’s a weak modern woman, weaker than the traditional woman of the Hindu society. Also her refusal of Kamat’s love and retaining her name as Suhasini (given by Mohan) shows another strong aspect of her feminine character where despite all her emptiness and hollowness she remains loyal and honest to her husband and relation.

        Henceforth it can fairly be concluded through the minute and facet full representation of a woman’s condition not just in particular but in general makes the novel a remarkable example of a feminist novel.

DIFFERENCE BETWEEN SPENSERIAN STANZA AND OTTAVA RIMA

SPENSERIAN STANZA: 

It is a form of stanza or the collection of verse which was the innovation of  Edmund Spenser. It is a fixed verse form and this form was created by him for his epic poem Faerie Queen. This stanza form consists of nine lines of which eight are composed in Iambic Pentameter and the last and the longest line, the Iambic Hexameter is popularly also known as the Alexandrine. The rhyme scheme of these lines are a-b-a-b-b-c-b-c-c and these lines have a rhyme scheme which are recurring in nature, as,

----------------a

----------------b

----------------a

----------------b

----------------b

----------------c

----------------b

----------------c

----------------c

This form gained downfall and short of use in the 17th century but resurged with the Pilgrimage of Byron's Child Harold. Example of spenserian stanza are as under,

And more, to lulle him in his slumber soft,

A trickling streame from high rocke tumbling downe

And ever-drizling raine vpon the loft,

Mixt with a murmuring winde, much like the sowne

Of swarming Bees, did cast him in a swowne:

No other noyse, nor peoples troublous cryes,

As still are wont t’annoy the wallèd towne,

Might there be heard; but carelese Quiet lyes,

Wrapt in eternal silence farre from enemyes.

Spenserian stanza is usually co-related with the other form of stanza named Ottava Rima and moreover Ottava Rima is even regarded as the source of inspiration for the creation of the Spenserian Stanza. The obvious reason being, some trifling similarities between both these forms. But moreover these stanza forms are uphold considerate differences amidst them. But before going further the primary need is to understand more about the form Ottava Rima.

OTTAVA RIMA: It is the stanza form of Italian origin which was created by Giovanni Boccaccio. It is composed of eleven syllables of eight lines with a distinctive rhyme scheme of: 

 a-b-a-b-a-b-c-c. This form came to be popular in the mock heroic works whereas it was earlier used for the poems of long heroic themed poems. It consists of eight Iambic lines of which three are alternate and the one is double rhyme.

Comparison: Both these stanza forms have little bit similarities and various differences which not just makes them similar but at the same time identical.

Differences: The considerate difference amidst both these forms is, unlike Spenserian Stanza, Ottava Rima is the imitation of "Sicilian Strambotto" which means each stanza is complete within itself and doesn't require other stanza to complete its meaning. Spenserian and Ottava rima being the stanzas of nine and eight lines respectively, have also the distinguished rhyme scheme as compared to the Spenserian Stanza. Also Spenserian Stanza had its prominent use in English countries, whereas Ottava Rima is in Italy and it was quiet late when its use began by English poets.

Similarities: Both these forms have a recurring pattern which maintains continuity in them. MOreover the poetic pattern of these forms is slow and gradual. More or less, both these forms use Iambic meters in their poetic construction.

Conclusion: Thus the comparative study of both these forms clearly shows their identical significance as the forms of poetry and further clarifies the  distance features and qualities that they individually posses proving their distinctive importance as the form of poetic composition.

Rehistoricising of 12th century in Tale-Danda

         The play Tale-Danda by Girish Karnad is undoubtedly the portrayal and re-historicizing of the 12th century history. The play portrays the dark aspect and stain of the contemporary Hindu-society of that century. It re-historicizes the various social, political and religious conditions with great emphasis over the religious turmoil and upheaval that was at peak during that century. The drama further highlights in a subtle way the ignorant conditions of women, regardless of their caste or social strata. And last but not least it also shows the failure of reformative movement due to inefficiency of the volunteers that participated within the movement.

       Karnad uses several representative characters to enlighten the past through them. The major representative character was Basavanna. He’s been represented as a reformer who started a movement named Sharana aiming at bringing social equality. The major issue that has been re-historicized by Karnad is of caste inequality. He has shown all the prevailing castes of that period viz. Brahmans, tanners, cobbler etc and highlighted very clearly and the existing inequality and discrimination amongst them. The opening of the play is amply evident and representative of the prevailing cast inequality during that period when Malliboma a tanner reluctantly brought into the Brahmin colony by his Brahmin friend Jagadeva who even takes him into his house, as a pre-condition of seeing his ailing father. Thus representing not just the caste inequality but also a radical attempt towards its eradication; especially through the Sharana movement that brought in all the caste people together under one group Sharana, making them equal. Moreover, through Amba ‘s helplessness as of her absent son and Jagadeva’s anger on seeing his wife back home, Karnad has also thrown some light over the poor and ignored condition of women in that century.

       Karnad with the gradual progress of the play has presented the more enhanced level of caste conflict which began taking a political turn. The prince of Kalyan develops enmity against the treasurer Basavanna after being failed to prove his deceitfulness. Which develops more after his public mortification by his father and the king Bajjala after his treacherous act. Here as well Karnad has shown the pauper womanly condition of that period through King Bajjala’s rebuking the queen and accusing her of making him (prince sovideva) a spoiled royal eunuch.  King, himself being a diplomatic, favours the Sharana movement because Basavanna respected him despite knowing his being cobbler by caste. But at the same regard them (Sharanas) incapable of solving any issue. Karnad through Bajjala’s words of calling caste being skin on body has shown the extent to which caste was widespread throughout in that century. Furthermore, king’s diplomacy has been shown by his opposition of casteless society arguing that,

       “People will merely sputter about like a fish on the sand and die.”,

showing the political condition of the time.

       The social and political scenario of the century is further re-historicized by Karnad through Jagadeva’s suspicion over Basavanna's spreading rumours of miracle at the treasury and calls him a manipulator; showing mutual mistrust despite being associated with such a great reformative movement. Karnad has further shown the drastic social turn; despite Basavanna’s being the leader of the Sharana movement couldn’t stop the marriage of the Brahmin girl with the cobbler boy. A drastic political turn takes place; the king is overthrown by his son Sovideva and Sharanas refuse to support the king who supported the marriage.

       Further Karnad presents the devastating political and social impact of the caste system and diversions through the violence that spreads throughout the Kalyan city on account of both Sharanas and Sovideva’s soldiers who barbarously kill thousands of Sharanas along with the young couple. In lieu of it, innocent king Bajjala is also killed by Jagadeva who suicides in guilt.

       Thus, through this Karnad has presented the massive onslaught that took place on the streets and houses of Kalyan during the 12^th century because of the prevalent caste inequality ruling the time. He has also shown in his play the probable causes that were greatly responsible for such a mishap to’ have occurred; of which lack of proper leadership in the Sharana movement which led to the mutual-conflict of thoughts, ideas and ideals dividing the group into younger and elder Sharanas. The other prominent reason shown for the movement’s failure in that century is involvement of such volunteers like Jagadeva and Basavanna who themselves had the diving relationship with their family and they went on to attempt leading such a great movement which was obvious to fail.

       All these factors played a crucial role in the future of the reformative movement as shown by Karnad through his play. Hence it can be fairly concluded that Tale-Danda is the true re-historicizing of the 12^th century social and cultural revolution.

Theme of Night of the Scorpion

            The poem Night of the Scorpion by Nissim Ezekiel is drenched in rural background reflecting high rural superstitious beliefs and ritualistic practices; here for a specific, vital and concern worthy purpose of scorpion bite. The poem in general appears to be a simple narrative of a tragic incident of scorpion bite. But the in-depth analysis of the poem reveals deeper meanings and themes that the poem operates upon. There are a number of themes and sub-themes prospering within the poem in a terse and inter-woven manner which makes the judgement of the main theme quiet complicated. Various themes that simultaneously operates within the poem are superstitions, pauper village conditions, motherly love, helplessness etc. Of these themes motherly love is amongst a significant theme; but helplessness seems to be a more prospering one, throughout the poem.

            Right from the beginning of the poem one can clearly witness the helplessness prevailing at various levels which continues to go on till the end of the mother's suffering along with the poem. Poet's mother after being stung by the scorpion was in immense pain. The scorpion who was helpless of the out-pour of the rain was forced to in-shelter itself in poet's house where it got mother's foot and then had to risk the rain again. Meanwhile the bite drew several houses of the village consisting of a large number of helpless peasants. Helpless because in-order to stop the mother's suffering they were all enchanting and murmuring God's name thousand of time to paralyze the scorpion so that it's movement wouldn't move the poison in mother's body. Although they were wishing well on their part in concern of the mother but were yet helpless in curing mother;s trauma owing to their superstitious and orthodoxical beliefs and methods that they put in use which was amply insufficient for the purpose. Then the villagers for the very same purpose carried out the search for thee scorpion to kill it and subdue its movement and consequently mother's pain; but alike the scorpion, they too were helpless before drastically out-pour of rain. Thus they helplessly fail in their attempt, as stated in the poem itself.
                   "...he was not found.
                     They clicked their tongues.",
showing their despair.

            They are further shown helpless by, although meaningful, but futile words of past, present and future; through this they try to console the mother by stating that the pain she was undergoing would not just balance the sins of the previous birth and decrease the misfortunes of the next life, but would also balance the good and bad deeds of the present. Although these words were an attempt to pacify mother's pain but practically were entirely futile.  Peasants after this sat helplessly around her, being done with whatever they were capable of, because it only satisfied them an not the purpose they said and did all this for, as stated in the poem,
                   "My mother twisted through and through
                     groaning on the mat."
It also shows how helpless the mother herself was, surrounded by a troop of other helpless people, that, neither they nor she herself was able to help herself.

            Even poet's father too has been presented as helpless. Being amongst those who loved mother the most, he himself tries curing the mother through the rational means being a skeptic and rationalist. Thus he used all the herbs, powders and mixtures over mother's toe; trying not just the boons and curses but also rational means and yet he too couldn't subdue her pain and tame the poison. The kids too couldn't do anything but watch the mother helplessly, groaning in pain, without having any means and way to help her. At last  mother, the embodiment of love is shown expressing her love but helplessness too. She thanks God of being fortunate enough to have faced such pain instead of her children because she knew that had it been to any of her children she was completely helpless to have suffered this voluntarily in lieu of her children.
           Hence it can be fairly concluded that a widespread helplessness prevailed throughout the poetic narration. Be it peasants or villagers, father or mother, they were all helpless in one way or the other. Despite their best possible efforts they could only see the mother suffering and despite their best effort they had no choice but to watch her pathetic condition until she was fully cured. Henceforth, the poem truly represents the theme of helplessness throughout it.

THE LORD OF THE FLIES (SHORT OVERVIEW OF THE NOVEL)

                   Introduction

Two boys are seen on a solitary island unknown to each other; enquire about each other and their whereabouts. Exploring the place they discover a conch and blow with the consequence of gathering all the other present over the island. After concise introduction they begin their expedition of the place for food and discovering some elders and thus the story progresses.

       Chapter 1: THE SOUND OF THE SHELL

Ø  Two boys shown on a solitary place.

Ø  Unaware of each other’s background, names etc are introduced to each other through the situation.

Ø  One is Ralph, fair haired, in school dress. A boy of 12 years and a few months, wide and heavy shoulder and undevilish eyes.

Ø  Minor details of their arrival revealed viz. a plane, a pilot and an atom bomb.

Ø  Plane got crashed, no one survived except for the few boys.

Ø  The other boy Piggy, shorter than the first, fat, spectacled, suffering from asthma.

Ø  They find a conch which Ralph blows and gathers all the boys present comprising of a group of small boys, another group of choir boys led by Jack, twins named San n Eric.

Ø  Summon up of boys through the blown conch represents the totem of civilization.

Ø  Ralph being the bower of the conch is somewhat chosen by default the leader of the group out of him and Jack (Jack wanted to be the leader as he could sing in C Sharp). But is allowed to keep the control of the choir boys.

Ø  Ralph, Jack and another boy Simon go on for exploring the island.

Ø  Jack who prefers his choir boys to be hunters misses killing a pig as of slight hesitation and resolves of being merciless the other time.

Chapter2: FIRE ON THE MOUNTAIN

Ø  Meeting is carried on to narrate all the discoveries to everyone else with all having something or the other to say.

Ø  No grownups present so they got to look after themselves.

Ø  Jack narrates his killing attempts with everyone having aggregates to say.

Ø  Ralph declares Jack’s hunters would go on in quest of food and none will speak until conch is given to him with others silently listening.

Ø  Piggy taking the conch tells about the unsettled and uncounted condition of the boys along with interpreting the words of a littluns who despite holding the conch couldn’t speak; discloses of sighting snake like thing ‘beastie’ introducing terror in the group.

Ø  Ralph refusing such words sets the goal of having fun and being rescued.

Ø  Ralph’s father being in nave and the presence of island’s map in queen’s palace provides sooth for the boys.

Ø  Through Piggy’s glasses they light up the fire to attract the passes (in case anyone passes by).

Ø  Jack makes his hunters the in charge of keeping on the fire.

Ø  At the end Piggy discovers and discloses about the missing boy amongst littluns.

Chapter 3: HUTS ON THE BEACH

Ø  Closer look at Ralph, Jack and Simon, with Jack trying out his first hunt but fails; Ralph and Simon struggling to make shelter in absence of other boys.

Ø  A small conflict occurs amidst Ralph and Jack where Ralph complaining of hunters and other boys indulgence in trifles with only Simon halting to help him.

Ø  Simon abandoning Ralph and Jack goes for the forest exploration discovers overgrown vegetation and at the end discovers a cabin like space, sealed off the view from the covers of leaves and filled with sensuality of the nature.

Chapter 4: PAINTED FACES AND LONG HAIRS

Ø  Chapter deals with boy’s description along with the age and power domination gap i.e. a descriptive differentiation of the boys.

Ø  Henry, Jonny and Percival the exemplary littluns engaged in making sand castle.

Ø  Maurice and Roger the two big boys threaten them to disrupt their castle; Roger even begins throwing threatening stones as well.

Ø  To his hands Golding describes as “Roger’s arms were conditioned by a civilization that knew nothing of him and was in ruins.”

Ø  Further Jack summons two boys to witness his pig hunt without any idea of     the compensation they will further have to bear.

Ø  The shift of concern towards hunting results consequently to the downfall of the uncertain world.

Ø  All people viz. Jack, Ralph, Piggy, Simon, Jack’s hunters were busy in something or the other when Ralph gets a glimpse of the ship.

Ø  He further realizes about the extinguished fire during his sunbath in the pool and runs in vain for the Piggy’s glasses; meanwhile Jack return off a successful hunt.

Ø  The obvious conflict occurs amidst Jack and Ralph with former refusing the confrontation diminish his triumph grabs off Piggy’s glasses with the intension of hurting both Piggy and Ralph but ending up with apologizing publicly.

Ø  Later on after the relit of the fire all gather up eating and listening up hunt’s exploit when Ralph intervenes through an assembly call with conch in the hand.

Chapter 5: BEAST FROM THE WATER

Ø  A chapter of change; witnessing various unexpected changes

Ø  Ralph calls up the meeting reminding of worrying situations and rules of hygiene, shelter; fire being more prominent thing than pigs etc.

Ø  His non threatening agenda and contradictory words against hunting leads to an obvious repulsive response from Jack. Thus ’fire’ and ‘hunting’ represents the power symbol amidst both.

Ø  Ralph’s role and conch are challenged for the role of leader and power symbol respectively making him bring the beast fear at night.

Ø  It results in Phil’s recount of the nightmare, Percival forgetting his name, littluns begin crying.

Ø  Jack although lessens the fear by carelessness and this is regarded as the loose of control of Ralph and is challenged by Jack as leader.

Ø  Consequently Jack and his gang runs off leaving Simon, Piggy and Ralph in dark and playing together when interrupted by Percival’s wailing.

                                               Chapter 6: BEAST FROM THE AIR

Ø  Being asleep no one notices the parachutist dropping from the sky.

Ø  Samneric (Sam & Eric) tend to light the fire and were awaken by its fabric moment.

Ø  Aghast, they run off to Ralph who calls up the meeting and disclosure of the same fact freaks the boys.

Ø  After Jack’s call for hunting Ralph reminding of the fire formulates a plan for figuring out the beast.

Ø  Ralph first alone explores the island and later is joined by Jack as well (exploring the yet unexplored portion).

Ø  With no beast found they take a sigh of relief and thus indulge in fun.

Ø  Ralph’s control over the group is on rapid decline

                                   Chapter 7: SHADOWS AND TALL TREES

Ø  Ralph’s acquiesces to Jack’s wish to ignore and forget the beast for a while.

Ø  Simon consoles Ralph they’ll all be rescued and goes to inform Piggy of other’s continuing their search.

Ø  Out of the grown-ups who were carrying the pig run to the mountain, Jack challenges Ralph to climb up the mountain which he reluctantly does taking along Roger.

Ø  On the top they figure out the beast apparently through head and knees (of the parachutist); with winds blow it lifts its head provoking all the boys in the darkness and back below.

                                   Chapter 8: GIFT FOR THE DARKNESS

Ø  Sight of the beast leads to a profound confrontation between Jack and Ralph where Jack similes (compares) Ralph with Piggy calling him (Ralph) an improper chief.

Ø  This time Jack openly asks vote against Ralph’s leadership and is disgraced by deadly silence against him; sting by the betrayal he walks away with tearful eyes issuing mutinous invitation to those who wish to accompany him.

Ø  The choir boys along with few others join him secretly while Ralph and others were collecting fire; Simon retreats to his discovered place deep in the forest.

Ø  On Jack’s command they prepare for the pig hunt and intend stealing fire for cooking.

Ø  Jack and his boys were busy in hunting with some fearing and Jack and two other remain for it. Piggy on the other side reminds Ralph of fire being their priority.

Ø  Simon sees the beast which in actuality was the offered pig by Jack to the beast.

Ø  It takes the shape of the Lord of the Flies and talks to him tauntingly; consequently Simon struck by the silence falls down in faint.

                                   Chapter 9: A VIEW TO DEATH

Ø  Simon makes a vital discovery; climbing up the mountain he discovers the beast to be dead parachutist.

Ø  Simon gets good look at death getting sick at its sight but then comprehends the need of conveying it.

Ø  Jack, with his band revealing their hunt offers Ralph and others the meat to encourage their joining hunters with Jack and along with taunting him.

Ø  Being fervour by Jack all hunters provoking further frenzy in which they ignorantly throw the spear over something coming out of the jungle which on being fiercely wounded falls on the sand.

Ø  All hunters after their furious attack discover it to be Simon.

Ø  On the mountain the parachutist’s body is taken by stormy wind to sea. The dead ‘beast’ beached and water carries it to sea.

                                  Chapter 10: THE SHELL AND THE GLASSES

Ø Ralph and Piggy couldn’t control their thoughts over the last day’s dreadfully furious incidence and try ignoring its thought but were still haunted by it.

Ø Jack ruling the Castle Rock as hunters’ fort also avoids any kind of discussion over it and rather justifies it as the killing of the disguised beast.

Ø Jack and his hunters attack Ralph, Piggy and Samneric and takes the Piggy’s glasses and Jack believing of having the totem of true power in hold.

                                 Chapter 11: CASTLE ROCK

Ø Everyone except Ralph, Piggy, Sam and Eric) join Jack’s group while the four go to re-obtain Piggy’s glasses.

Ø They meet Jack who was returning of a hunt and mocks Ralph. In turn Ralph accuses him of being a thief.

Ø Demonstrating his powers he got Sam and Eric tied up despite their cry and Ralph’s protest.

Ø In the ensuing frenzy of screaming and yelling no one notices Roger levering the rock over Piggy’s head.

Ø Before anyone could figure out anything the heavy sound in heard of rock falling over Piggy’s head and consequently killing him along with smashing the conch as well.

Ø On to the breaking of the conch Jack feels like power being free for grab and thus spear’s Ralph who after being hit escapes the onslaught.

                                 Chapter 12: CRY OF THE HUNTER

Ø Escaped Ralph seeks refuge in forest surveying his wounds and obtains a spear through pig’s head.

Ø From the foliage he cautiously calls out San and Eric who warn him to be the hunt of the hunter and disclose that they would use the signal for the purpose.

Ø Creeping into a safe spot he considered safe, wakes up next morning only to realize the betrayal of Samneric who alone knew of his hide.

Ø The hunters fall down the rock to provoke him out of the hide but on failing they fire the place.

Ø Ralph consequently is forced out of the hide before the hunters and is speared by them.

Ø Ralph running away from them makes his way to the shore and faints down with whole jungle in fire behind him.

Ø  Exhausted Ralph on waking up finds a naval officer telling that fire attracted his attention.

Ø Jack along with the hunters too reaches the shore and stares at the officer silently.

Ø Ralph being free of their terror tells of two boys being killed and realizing about Piggy, breaks into tears.