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

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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.