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A passage to india forster orientalism
Critical study of a passage to india
E.M Forsters representations on imperialism in A Passage to India
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Leonard Woolf considers E.M Forster’s novel A Passage to India to be a representation of ‘’the real life of politics in India, the intricacy of personal relations, the story itself, the muddle and the mystery of life’’ (Jay, 1998). Fosters novel has been the subject of literary criticism from many angles given the highly controversial subject matter which is called into question as to whether it is a genuine representation of India under colonisation written from an objective experience, and whether this attempt to represent India is successful or a failure. The question of how successful this representation of India and the British occupation of the country is will form the argument of this work. Forster makes it known to the readers of the novel that when he first began to compose A Passage to India he had felt that he did not know India well enough to continue in an accurate portrayal, therefore returned later to India before completing the novel. In the time of his second visit, Forster felt that he was able to understand the ways in which the Anglo-Indians behaved towards the natives and also that he became better acquainted with the Indian natives. This would suggest that his writing would be objective portraying both sides of the divide without prejudice towards either class.
A Passage to India is a portrayal of India during the control of the British Raj in the 1920’s. The narrative tells the story of a young British woman, Adela who falsely accuses an Indian Doctor, Aziz of attempted rape. When this progresses to a court, during the trial she withdraws her lawsuit and admits she was mistaken. As a result of her false accusation, the trial and the retraction of her charge there is a further and deeper divide created betw...
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...mud, the inhabitants of mud-moving’’ (Foster, 1968). It is questionable whether Forster is writing from an objective experience from the point of view of a Colonial English man. He carries the reader from one event to another in the novel however his reaction to his own personal experience seems to be portrayed as a social reaction placing almost exclusively middle class raised characters in the midst of a country falling.
Works Cited
Beer, J., 1985. A Passage to India: Essays in Interpretation. London: The Macmillan Press Ltd.
Foster, E., 1968. A Passage to India. London: Aldine Press.
Jay, B., 1998. Icon critical guides- A passage to India. Cambridge: Icon Books ltd.
Page, N., 1987. Modern Novelists: E.M Forster. London: The Macmillan Press Ltd.
Said, E., 1978. Orientalism. US: Vintage Books.
Washington, P., 2007. Kipling: Poems. New York: Everyman's Library.
If we look closely at the words racial and tension, we can see that it
Trautmann, Thomas R. India: Brief History of a Civilization. New York: Oxford UP, 2011. Print.
Impact of British Colonization Exposed in A Small Place, A Passage to India, and Robinson Crusoe
James, Lawrence. Raj: The Making and Unmaking of British India. New York: St. Martin's, 1998. Print.
The authors uses the strategy of symbolism to show how the Indians are struggling and are being restricted. The text states, “my Motherland! - fear, the phantom demon, shaped by your own distorted dreams… burden of ages, bending your head, breaking your back, blinding your eyes to the beckoning call of the future...shackles of slumber...mistrusting the star that speaks of truth’s adventurous path… anarchy of destiny… Sails are weakly yielded to blind uncertain winds… hand….rigid and cold as Death… The insult of dwelling in a puppet’s world… movements are started through brainless wires….repeated… mindless habits… Figures wait with patient obedience for a master of show to be stirred into… Life” These quotes show imagery to develop meaning in word choice. He uses the words ‘Motherland’ to represent India and the ‘phantom demon’ being Great Britain. The Indian people are afraid of the controller that watches them. India tries its best to get out of the clutches of Britain. But the country keeps on getting pulled back in and all the people can do is to have hope for a future in which they can be free. Thus, the rights of Indians were
2 Stein, Burton (2001), A History of India, New Delhi and Oxford: Oxford University Press. Pp. xiv, 432,
Literature throughout time has contained many similarities. These similarities become even more prevalent when authors share a similar style and inspirations. Two authors that have similar experiences are Ruth Prawer Jhabvala and E.M. Forster. Both these authors have written books that are in the modernism style. Jhabvala and Forster also were fascinated by India and choose the relationships between native Indians and English colonizers as one of their themes. These similarities helped produce books that have similar characters. The women, not native to India, in both Jhabvala' Heat and
Forster perceived the public-school system to be at the centre of the English middle-classes, defining their set of core values and moulding their behaviour. He was particularly intrigued by the notion of emotional repression being indoctrinated into public-school pupils, and the effects of this 'stiff upper lip' mentality is keenly considered in both Howards End and A Passage to India. While several of his male protagonists unquestionably display solidity and efficiency, their lack of imagination and inclination towards hypocrisy inevitably undermine any potentially positive characteristics. Their personal relationships with others are consequently affected, and in A Passage to India the failure of Anglo-Saxon relations is significantly contributed to by the small-minded selfishness of the English. Forster's skilful use of contrast means that those removed from the public-school mentality, such as the colourful characters of Leonard Bast and Aziz, can serve to expose its flaws.
In the novel A Passage to India, written by Forster, he is bias towards the women in the novel. The society when Forster wrote the novel in the 1920’s had different views on women than it has today a...
In Forster's A Passage to India we recognize certain elements that can be seen as Orientalist. According to Edward Said's definitions of Orientalism I tried to point out some of these Orientalist elements. However, there are many more examples in the novel which would also fit in the Orientalist frames set by Said.
Nicholas B. Dirks. (2011). Castes of Mind: Colonialism and the Making of Modern India. Princeton University Press
There are people bustling, merchants selling, Anglo-Indians watching, and birds flying overhead. How many perspectives are there in this one snippet of life? They are uncountable, and that is the reality. Modernist writers strive to emulate this type of reality into their own work as well. In such novels, there is a tendency to lack a chronological or even logical narrative and there are also frequent breaks in narratives where the perspectives jump from one to another without warning. Because there are many points of view and not all of them are explained, therefore, modernist novels often tend to have narrative perspectives that suddenly shift or cause confusion. This is because modernism has always been an experimental form of literature that lacks a traditional narrative or a set, rigid structure. Therefore, E. M. Forster, author of A Passage to India, uses such techniques to portray the true nature of reality. The conflict between Adela, a young British girl, and Aziz, an Indian doctor, at the Marabar Caves is one that implements multiple modernist ideals and is placed in British-India. In this novel, Forster shows the relations and tension between the British and the Indians through a series of events that were all caused by the confusing effects of modernism. E.M. Forster implements such literary techniques to express the importance or insignificance of a situation and to emphasize an impression of realism and enigma in Chandrapore, India, in which Forster’s novel, A Passage to India, takes place.
Mishra, Vijay. "The Texts of Mother India." After Europe.Ed. Stephen Slemon and Helen Tiffin. Sydney: Dangaroo Press, 1989. 119-37.
The early years of the twentieth century saw the rise of the novel as a popular genre in the literature of the war-struck Edwardian England. Novelists like Joseph Conrad, E.M.Forster, Virginia Woolf, James Joyce and D.H. Lawrence gave the form new dimensions. Among these writers E.M. Forster made a mark in the literature of his age through his last novel A Passage to India (1924), which was entirely different from Forster's other novels in that it dealt with the political occupation of India by the British, a colonial domination that ended soon after the publication of this novel. Forster, a liberal and humanist in outlook, emphasised the importance of love and understanding at the personal level in this novel.
V. S. Naipaul, the mouthpiece of displacement and rootlessness is one of the most significant contemporary English Novelists. Of Indian descent, born in Trinidad, and educated in England, Naipaul has been placed as a rootless nomad in the cultural world, always on a voyage to find his identity. The expatriate sensibility of Naipaul haunts him throughout his fiction and other works, he becomes spokesman of emigrants. He delineates the Indian immigrant’s dilemma, his problems and plights in a fast-changing world. In his works one can find the agony of an exile; the pangs of a man in search of meaning and identity: a dare-devil who has tried to explore myths and see through fantasies. Out of his dilemma is born a rich body of writings which has enriched diasporic literature and the English language.