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realism in english literature
realism in english literature
123 essays on character analysis
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Art of Characterization Aristotle laid utmost stress on the plot in a story, later on, this emphasis shifted to character. Character is less important in symbolic, satirical, stream of consciousness, technique novel or highly experimental novels. A great novel enables us to identify ourselves with hero or heroine and enjoy characters. The most enjoyable fictional characters seem to be very realistic. The pre-independence novelists showed marked tendency to construct regular plot, so as to convey their messages to the readers more effectively. But with the popularity of psychological novels, the emphasis is being laid more on characters. R K Narayan excels as an artful delineator of character. He says his focus is all on character. If his …show more content…
During the last 40 years, there has been a great deal of experimentation in the use of the English language in Indian English Literature. A few writers who wrote novels in English in the early part of twentieth century used the language carefully, with stiff correctness, always aware that it was a foreign tongue. In the 30s one notices a sudden development of Indian English Novel, in quantity as well as quality and this is because of their confidence in the use of English language as one of India’s many other languages. Out of this confidence raises their will to twist the language according to the situation, Mulk Raj Anand is the first mindful experimenter, followed closely by Raja Rao, and in the next decade by Bhabani Bhattacharya and others.
The Indian English novelist’s writing shows the impress of the region from which she hails. For instance, Mulk Raj Anand, manages to convey a Punjabi taste through his English. R.K Narayan’s novels exhale south Indian air. Raja Rao deals with Kannada-speaking characters and nuances of their language and Bhabani Bhattacharya’s English succeeds in recreating a Bengali rhythm. Kamala Markandaya and Manohar Malgonakar do not connect themselves with the region they represent and their English does not betray their own area. They are as much at home in Standard English as any educated, cultured local
I think that the good novelist tries to provide his reader with vivid depictions of certain crucial and abiding patterns of human existence. This he attempts to do by reducing the chaos of human experience to artistic form. And when successful he provides the reader with a fresh vision of reality. For then through the symbolic action of his characters and plot he enables the reader to share forms of experience not immediately his own. And thus the reader is able to recognize the meaning and value of the presented experience as a whole. (Kostelanetz 10)
A character is simply a figurehead. In many works seen throughout history, dating from the poets of ancient Rome to the novelists of modernity, it is evident that there are numerous elements of reality that enter a character, a congregation of characteristics that come from a creator’s mind, life, or a combination of both. With this fact in mind, it is understood that a character is only human, no matter what role that character takes on, and just as any human, a character is a representation of its surroundings and the environment of the story, matching the plot in one way or another, and in one pivotal way, a character also matches the a human in that a character goes through development throughout a situation, and within any situation, a character interacts with other characters, just as humans do with other humans, and changes the development of those characters.
Aristotle identified ‘action’ and ‘character’ as the essential elements to the story and the key elements to a plot, that a character must possess a ‘fault’, realize his fault and have a reversal of fortune. These guidelines to a story are found throughout many narratives; the aristotelian ideals predicated the theory that narratives also had a structural base, but are subject to the author for other portions. Narratives, therefore were reexamined, identified and categorized. Vladimir Pomp asserts that storytelling “is not the imparting, but the withholding of information”Barry, a ghost story for example often has characters who know more than they are telling and withholding key information with the purpose of progressing the story. Propp stated that stories are all connected through a variety of different building blocks which can be mixed and matched into various categories and genre. The critic however disregarded the new cultural concepts utilized to explain the plot and instead regarded the textual representation of the text. Consequently narratives received a higher standing and craved greater clarity.The unreliable narrative is a necessary and important literary tool, utilized as an impartial commentary to discuss philosophical and moral dilemmas. Narratology defined as “the study of how narratives make manning, and what the basic mechanism and procedures, it
Viswanathan, Gauri. “The Beginnings of English Literary Study.” Masks of Conquest: Literary Study and British Rule in India. New York: Columbia University Press, 1989.
Although the author presents the English prejudice in the novel in many situations, he also presents the Indian reaction and behavior. The author demonstration of British behavior vs. Indian behavior gives the readers the field of free thinking and association to decide for themselves which side they would favor. It also questions the validity of criticisms that think of this book as a bias novel that offends British people. However, the author does indicate his favoritism towards Indians throughout the novel by presenting them as the weak and helpless characters that do not have any authority in their own country, but they poses scientific and spiritual knowledge that earns them respect among their society.
Ms. Anna Merin Scaria M.Phil., Research Scholar & Dr. Sushil Mary Mathews, Associate Professor, Department of English, PSGR Krishnammal College for Women, Coimbatore
Much work has been done on Indian literature in English based on analyses through the tools of Western critical methods. The ‘Indian classical tradition’ is very rich and consists of perception and insight which serve as a best alternative to the western critical theories; but due to the colonial hangover we fail to appreciate and recognize our age old classical tradition of critical theories.
If there is one author which is responsible for bringing realism in Indian fiction back in the early twentieth century, he is Premchand. Before him, almost every Indian fiction encompassed stories about Gods and mythological tales. Premchand’s stories were a true reflection of the society where the abused like the peasants, the farmers, the prostitutes and the widows were crushed all their lives by the hollow norms and rules of the society where the riches and politically powerful ruled. His stories depicted their exploitation and I, as a reader could feel that – such is the ability of his writing skills. He also wrote these stories and novels aiming to bring about social reform in the society.
R.K. Narayan's Presentation of Indian Society in His Stories R.K. Narayan is an Indian novelist and short story writer who writes in English. His novels show how the lives of ordinary
Upamanyu Chatterjee is one contemporary Indian English author who has attracted adulation and admonition in equal measures. His critics, who find his novels often dealing with unpalatable issues, loaded with heavy negativity, cynicism and turgid expressions, however, unanimously aver that he is witty and intelligent, endowed with a unique style of wry playfulness mixed with keen observation. He defies conventions and is rarely calm or ‘normal’ in his novels. Having emerged as the sort of champion of the de-centred and de-cultured, Chatterjee delves deep in the postmodern ethos of the contemporary Indian scenario. But the question is, are the ‘bleak-books’ of Upamanyu Chatterjee really devoid of any redeeming positive value? This study attempts to get the answer of this question through the process of deconstructing the author’s sensibility and the formative influences on his creativity.
Recent years have witnessed a large number of Indian English fiction writers who have stunned the literary world with their works. The topics dealt with are contemporary and populist and the English is functional, communicative and unpretentious. Novels have always served as a guide, a beacon in a conflicting, chaotic world and continue to do so. A careful study of Indian English fiction writers show that there are two kinds of writers who contribute to the genre of novels: The first group of writers include those who are global Indians, the diasporic writers, who are Indians by birth but have lived abroad, so they see Indian problems and reality objectively. The second group of writers are those born and brought up in India, exposed to the attitudes, morale and values of the society. Hence their works focus on the various social problems of India like the plight of women, unemployment, poverty, class discrimination, social dogmas, rigid religious norms, inter caste marriages, breakdown of relationships etc.
Dr. M.K.Bhatnagar, Head, Department of English, M.D. University, Rohtak in his article, ”Comparative English Literature-Limits and Prospects” says “Comparative study of Literature involves in lumping together of two or more tests which are perceived by the critic, to have a significant, similar or dissimilar theme or style. It also gives ways to assume a number of dual awareness studies inter-genre or intra-genre, inter-cultural or intra cultural, inter authorial or intra-authorial or a specific permutation and combination of these” (1). Many Indian writers have tried their hands in writing autobiographies. This paper distinguishes the similarities and the dissimilarities established in Sarvepalli Radhakrishnan’s ‘My Search for Truth’ and
Mulk Raj Anand was a prominent Indian writer in English. He was a socially committed novelist, who was born in Peshawar in 1905. His father was a coppersmith and his mother come from peasant family. His literary career was launched by family tragedy. He had a good deal of literature on his behalf. He has written more than a dozen novels and about seventy short stories and essays also. His attitude and views as a novelist had many influenas. His social condition, his parents, his education, and the books he read and the people he met all have a share in making Anand a novelist. Anand was aware about the sufferings, poverty, hunger and humiliations of Indian people. That’s why it became Anand’s aim as a novelist to focus attention on the sufferings and problems of the outcaste. No one in India had yet dealt with these subjects because of there crude realities. Thus Anand writes on what may be called “Epics of sufferings and humiliations”. He has also made Indian novel a novel of socialism and realism. He has introduced new type of characters. As Shrinivasa Iyenger observes, “Anand is often undistingaished and seems to be too much in hurry; but the vitality of his creations, the variegate...
The measured dialogue between Reader and Editor serves as the framework through which Gandhi seeks to discredit accepted terms of civilization and denounce the English. These principle characters amply assist in the development o...
The paper throws light on the major features of language that Arundhati Roy has deployed in her novel The God of Small Thing, the novel that won her The Man Booker Prize. Roy, through her creativity of language, makes an attempt to capture and represent the reality. The novelist comes up with certain strategies. She brings about certain linguistic innovations, by shaping and molding the language as it is not readily available, to capture Indian sensibility and present it in all its cultural dimensions.