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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
Through this sympathetic faculty, a writer is able to give flesh, authenticity and a genuine perspective to the imagined. It is only in this manner that the goal of creating living beings may be realized. Anything short of this becomes an exercise in image and in Kundera’s words, produces an immoral novel (3). The antithesis of liv... ...
Malkani, Gautam. Londonstani. Rotten English: a literary anthology. By Dohra Ahmad New York: W.W. Norton & Co., 2007.
Henry James, one of America¡¯s major novelists and critics, has produced many great works, such as Portrait of a Lady, The Wings of the Dove, The Golden Bowel and The Ambassadors. His method of characterization is ¡°a complete objectification of characters.¡±¢Ùand he focuses on the inner life of characters rather than external action and environment to explore the mind and inner activities of the characters through their dialogues, mental conflicts, thoughts on man and events instead of the complex plot. So his writings do not present readers a series of events as traditional novels do. Especially in his final and ¡°major phase¡±, the very subtlety and complexity of characterization is almost to deliberately depicting degree. Thus people call him a psychological realist and consider him as the founder of psychological realism. James believes that reality lies in the impressions made by life on the spectator, and not in any facts of which the spectator is unaware. So by making the conscious part of the artist the final measure of experience, James shifts the ground of realistic art from the outer to the inner world. His short story Paste is one of typical examples reflecting his such writing techniques and theories on literary creation.
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.
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.
The composition not only shows his ultimate sarcasm with the British rule in India, it is also a reflection of the Western civilization. Rabindranath jots down, I had at one time believed that the springs of civilization would issue out of the heart of Europe. But today when I am about to quit the world that faith has gone bankrupt altogether. Rabindranath, who had started his life as a keen believer in the generosity of the European civilization was later disappointed when he came across the catastrophic consequences of the English rule in Indian subcontinent. It is with this disappointment the beginning of Modern Indian English Literature is marked, the earliest phase of which is described by H.M. Williams as Georgian effusions. However, more than a period of time, those effusions took a back seat with the British denial to grant Indian sovereignty. Therefore, the new generation that emerged was cynical by the West’s failure to keep its exciting promises. Three early masters of the Modern Indian Literature in English namely Mulk Raj Anand, Raja Rao and R.K. Narayan laid the foundation of the Contemporary English novel in India by throwing out the Indian values and adapting English Language to the Indian needs by asserting an Indian identity. It was a creative appropriation of English Language, but a rejection of the world of the existing British English Literature also. While the trio Mulk Raj Anand, Raja Rao and R.K. Narayan successfully laid the basics of the Indian reality and started to look at the Indian opinion and the Indian picture from a post-colonial point of the view, the later generation went further and calculate in detail the emerging guides of the Indian socio-political reality born within and without the Indian environmental boundaries. Hence, the arrival of Salman Rushdie, Vikram Seth, Amitava Ghosh, Upmanyu
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.
I, Nilanjana Bhattacharya, student of B.A.(Hons.)- English of Amity Institute of English Studies and Research, Amity University
The author is a software engineer from Odisha and a rising star in Indian literary scene who has started his writing
They were followed by the great triumvirate of Anand-Rao-Naryan, who were the first to make Indian writing in English popular among a sizable section of our English educated people. They primarily wrote fiction and their elegant styles soon caught the imagination of the common reader. Indian writing in English had finally arrived in 1930’s after a marginal existence for over a century.
English is in India today, a symbol of people’s aspirations for quality in education and a fuller participation in national and international life. Its colonial origins now forgotten or irrelevant, its initial role in independent India, tailored to higher education (as a “library language”, a “window on the world”), now felt to be insufficiently inclusive socially and linguistically the current status of English stems from its overwhelming presence on the world stage and the reflection of this in the national arena. (NCERT
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.
10. Naik, M.K & Mokashi-Panekar, S: “Perspectives on Indian Drama in English”, Chennai, OUP, 1977.