Monday, 20 April 2020

A G Gardiner's Essay On a Painted Face_ On Smiles_ On Saying Please


M A English II Semester
Paper III
Prose II
Unit 3
Critical Analysis of A.G. Gardiner’s Essay On a Painted Face  
In On a Painted Face by A.G. Gardiner we have the theme of appearance, deception, confidence, acceptance, independence, change and control. Taken from his Pebbles on the Shore collection the reader realises from the beginning of the essay that Gardiner may be exploring the theme of appearance. It is clear that Gardiner does not believe that the young girl he meets on the street should be wearing make-up. He believes it takes away from the natural beauty of a lady. Something which should not be enhanced or rather in Gardiner’s eyes cannot be enhanced by make-up. It never dawns of Gardiner that some women may prefer to wear make-up in order to boost their confidence. They may not necessarily be trying to deceive the world or to persuade the world that they still look as young and beautiful as they did in their youth. It is inevitable that everybody will age and may not necessarily be considered as beautiful as they once were. By applying make-up a woman is not only giving herself confidence but she is delaying the inevitable. The time when no matter how well the make-up is applied it will lose its effect. For Gardiner make-up loses its effect the minute it is applied to a woman’s face regardless of the woman’s age.
It is also possible that Gardiner is unable to accept change. At the time the story was written make-up would have been more available to women. Hence more women began wearing make-up. It is for this reason that Gardiner is noticing how many women are wearing make-up. If anything some critics might suggest that Gardiner is being unnecessarily critical of women and may be threading on being misogynistic. It is as though he is attempting to control women and how they might look. An effort that many men (including Gardiner) would lose. In reality make-up may have helped give women independence. To be allowed to decide for themselves how they might wish to look. The intended target may have been a male audience but nonetheless women were affording themselves the opportunity to appear as they would like to appear. Pleasing not only themselves but other men who do not think like Gardiner.
What is also interesting about the story is how angry Gardiner feels about the issue. Something which may lead some readers to suggest that Gardiner is aware that the world around him is changing and he feels threatened by this change or at least unable to adapt to it. It might also be important that Gardiner considers that it is okay for an actress or actor to wear make-up as they are partaking in a fantasy. Yet a woman does not have the same right to apply make-up and escape into a world in whereby she is not hurting anybody. It may also be a case that many women feel discontent with how they look without make-up. Not every woman has been treated kindly by nature. So it is inevitable that a woman for the sake of confidence would apply make-up to her face. Again in reality Gardiner considers it to be an abhorrent act yet the reality suggests it is harmless and that the problem lies with Gardiner and his inability to accept change. Gardiner also does not know how to react to young people who apply make-up. Something that is clear from the beginning of the essay. Though the young girl has not changed as a person. Gardiner treats her differently.
Gardiner also doesn’t believe that women who apply make-up to their faces or who dye their hair are in any way prettier than they previously were. Which may suggest that Gardiner believes that the women are acting foolishly or at least deluding themselves. If this is the case than it might be important to remember that a woman is again independent of a man. She is entitled to do as she pleases, wear what clothes she wishes and wear make-up if she desires. There is nothing that Gardiner can do about it and this might be the most upsetting thing to Gardiner and other men. They lack the ability to control a woman’s life. Where previous generations of women may have felt submissive to the male. For Gardiner this is not the case. The young girl who Gardiner meets is expressing a new found confidence that should be appreciated and applauded. However Gardiner remains in shock. Shocked enough that he is repulsed by the way that society has moved on. It is as though Gardiner is not only unable to accept the present but he is also finding it difficult to let go of the past and the belief that women should not wear make-up. In reality the real problem lies with Gardiner and not the women who choose to wear make-up.

                                  Critical Analysis of A.G. Gardiner’s Essay On Smiles
In On Smiles by A.G. Gardiner we have the theme of happiness, trust, change and appearance. Taken from his Many Furrows collection the reader realises after reading the essay that Gardiner may be exploring the theme of happiness or rather the happiness one receives from seeing another person smile. For Gardiner there is also a difference between a natural smile and one that an individual forces. The natural smile will cheer up another person and make them forget their woes. While people have the ability to see through a forced smile. A smile that lacks the quality of trust. It is easier for an individual to trust a person who smiles naturally as they are able to disarm any criticism that the individual may have about the person’s character. It is as though a person with a natural smile is able to change how another person feels. By forcing a smile an individual is being deceitful and people can see this for themselves. A forced or fake smile leaves a person suspicious of the individual who is smiling and as such their guard will be up because they cannot trust the individual.
What is also interesting about the essay is the fact that Gardiner believes a smile comes from inwards. It may be reflected outwards but in reality it is something that comes from inside the person themselves. It is for this reason that a natural smile is more trusting and has the ability to disarm a person. It is also likely that this is the reason that Gardiner wishes that he could relive his life all over again. To be a new person as he may have the natural skepticism that comes with life and as such his smile may be no more than a grimace. Which would not be endearing to people. Gardiner also argues that the habitual smile is not pleasing to an individual as it lacks spontaneity. This may be significant as Gardner could be suggesting that those who smile permanently can not only be distrusted but they may also have something to hide. Attempting to disarm before conflict. A conflict which all parties may be aware of. If anything a constant smile would not only be annoying to Gardiner but it may also suggest that the individual is hiding something.
The importance of a smile can also not be underestimated particularly if one is a politician. With Gardiner quoting the success of Theodore Roosevelt as an example. Roosevelt’s smile according to Gardiner may have helped him to be successful. The smile bringing a sense of ease to those who observed it. A matter that would be important for a politician. Should a politician never smile there is every chance that the electorate will not vote for him or her and as such the politician will be forced to look for another career. One that will suit their appearance. A good smile in Gardiner’s opinion will also carry a man or woman a long way. One can go from rags to riches by a simple ability to have a smile that is contagious. By making another person smile not only are you making them happy but you are also showing them that you are not a threat in anyway. Which would hinder a person’s passage through life. To move forward in life one has to be trusted and a good smile will go a long way in helping an individual progress through life.
In reality a good, natural smile will help an individual to change another person’s viewpoint of them. A person will forget why they disliked the individual and matters will be resolved more quickly should there be any conflict between either party. The example of Rufus Isaacs is also interesting as he appears to have the juries in front of him in the palm of his hand (and on the side of his client). Isaacs radiates confidence but not overtly so. He smiles enough to disarm others while at the same time keeping his focus on his client.  All by having a natural and confident smile. While others who force their smile or permanently smile are deemed to be less trustworthy. An issue which would be of great importance to a lawyer. If anything Gardiner may be suggesting that those who smile naturally and confidently have an easier time than those who might force a smile. An individual can see through another person’s smile and if it is honest and engaging than that individual is won over for the time being. It is probably for this reason that Gardiner wishes he could be born all over again. To learn in a natural way how to smile and to beam confidence and to be able to disengage others should he need to.

                            Critical Analysis of A.G. Gardiner’s Essay On Saying “Please”
This essay by A.G. Gardiner explores the issue of politeness as an extremely important and indispensable feature of civil society. Politeness, he argues, is that which keeps the social life of civilised man well-oiled and friction free. Good temper gives rise to naturally pleasant behaviour that radiates pleasantness all around. Conversely, bad temper breeds uncouth behaviour that poisons the stream of life. Both good and bad behaviour are highly infectious. The problem is that good behaviour cannot be enforced by the law. This is so because the manifestation of good behaviour depends on the tone of one’s voice, the cast of one’s lips, the expression on one’s face - and such things that the law can never regulate. Finally, Gardiner argues that one may get the sweetest revenge against boorish individuals by being excessively polite towards them.
Gardiner expected smooth, light and playful behaviour instead of quarrels and disputes. He raised the question of morality in everyday life. In all cases, it is the human interest that appealed him. He described not only the effect upon, but also the illustration in human character. He has aptly pointed out the irrelativity in the behaviour of the society he lived in and suggested correlative measures to overcome the problems which could harm the entire society.
In On Saying “Please” he points out the value of good manner in social life and emphasizes the importance of courtesy and politeness in daily behaviour. In a simple, natural and anecdotal manner, he shows how polite speech and manner sweeten the atmosphere around, and how discourtesy and ill-manners spoil or pollute it. Gardiner emphasises the value of gentleness of speech and manners and concludes that politeness is a more effective tool of taking revenge on a discourteous person, as is seen in the case of Chesterfield, than a violent attack as was restored to by the liftman. However, instead of indulging in abstract moralising or preaching, Gardiner gives concrete examples of polite behaviour like that of the polite bus-conductor and the consequences of ill-manners like those of the rude passenger in the lift.
In On Saying Please by A.G. Gardiner we have the theme of courtesy, civility, morality, responsibility and control. Taken from his Many Furrows collection the reader realises after reading the essay that Gardiner may be exploring the theme of courtesy and the benefits of being courteous to others. The story of the lift-man and his pushing of the man out of the lift leaves two people to suffer. The lift-man who is likely to be charged by the police and the man himself who was pushed out of the lift. Though some critics might suggest the lack of courtesy shown by the man who was pushed out of the life is enough for the lift-man to take matters into his own hand. The lift-man only suffers by his actions. Whereas if he had taken the moral high ground and continued to be polite to the man. He may have in fact changed the man’s approach to him. By showing civility the narrator argues that more is to be gained than if one is ill-mannered or ill-tempered towards another person. If anything the lift-man has lost his peace of mind and possibly his freedom.
The narrator’s example of the conductor is also interesting as the conductor at all times appears to take the higher moral ground despite what he may think of his passengers on the. He never judges anyone and is apologetic when he makes a mistake. Something that is noticeable when he stands on the narrator’s feet. Though an accident the conductor ensures that he apologies and that no offence can be taken. This may be important as Gardiner may be suggesting that just as the lift-man lost his patience and peace of mind. The conductor on the other hand remains morally upright. He is sensible enough to know when he has made a mistake and when he must apologize. Unlike the lift-man who has taken matters personally and as a result has broken the law. Which takes precedence over any ill-mannered approach that one may receive from another person. Legality takes precedence over moral laws in the eyes of society and one is left to deal with a perceived moral injustice by themselves without the support of the law. As to whether the reader agrees with this is a different matter as loss of peace of mind over a moral slight can result in the law being broken or others who are innocent being effected.
Gardiner may also be exploring the difficulties that can be incurred by an individual when dealing with the public. The lift-man acted inappropriately while the conductor on the other hand is wise enough to know that it is better to be sweet to each passenger than to offend them. Not only does the conductor keep his peace of mind but he also ensures that he is not responsible for breaking the law. Though the conductor may feel like doing so. In contrast the lift-man and the conductor are two very different types of people. The lift-man loses control because he feels slighted in some way. That he may be deemed by the man entering the lift as being inferior to him. While the conductor on the other hand does not lose control of his emotions. Rather he continues to be polite, well-mannered and civil to all his passengers. It is by losing control that the lift-man faces the more serious charge of breaking the law. Morally the law is not responsible for how the lift-man has been treated. The law only deals with issues of a legal nature.
It is also clear to the reader that the happier of the two men is the conductor. The lift-man having lost control acts irresponsibly. Whereas if he takes the higher moral ground that is shown by the conductor. He still keeps his peace of mind and acts morally superior to the man who did not say please. Which leaves the reader realizing that regardless of how one is morally treated by another person. The path to follow is not to retaliate or query an indiscretion that may have been felt but to rise above the indiscretion and maintain one’s dignity. At all times ensuring that one can keeps one’s peace of mind without having to lower themselves to the level of the perceived offender. Something which may be difficult to accomplish though worth the effort. As matters of gratitude can have an effect not only on the offended party but also to those in the offended party’s circle. Something which only leads to further disruption and misfortune to an individual. Despite themselves being innocent of any law that they perceive may be broken. In reality it is better for a person to overcome how they might feel having been slighted morally and to take the higher moral ground.







Thursday, 16 April 2020

Critical Analysis of Charles Lamb’s Essay A Dissertation upon Roast Pig


M A English II Semester
Paper III
Prose II
Unit I
Critical Analysis of Charles Lamb’s Essay A Dissertation upon Roast Pig
In September, 1822, Charles Lamb published his classic essay "A Dissertation upon Roast Pig" in London Magazine under the pen name of Elia. This is an essay that shows Lamb at his humorous best. It is full of fun from beginning to end. In this unit we shall examine both content and style of the essay and observe the various devices that Lamb uses to portray a humorous account of the origin of mankind's practice of roasting pigs besides giving us insight into his own temperament and tastes.
Lamb begins the essay with a humorous anecdote which his friend Thomas Manning seems to have shared with him. The anecdote reveals how the practice of roasting pigs began in primitive times with an accidental event in a Chinese village. After providing an extremely humorous account of the event, Lamb proceeds to describe with intense feeling his unusual passion for a roasted pig and says that though he would like to share all good things of life with his friends, he would never like to part with a roast pig even out of utmost compulsions of generosity.
Lamb further explains how one day a mischievous young child in a Chinese village accidentally set fire to a house that had a fine litter of pigs inside. After the fire, the boy felt an appetizing flavour coming from the burnt pigs. On tasting the crackling he found it delicious. His father returned at that very time and was shocked to see his son eating the flesh of burnt pigs. But on being urged by his son, the father too tasted the burnt flesh and discovered to his utter surprise its superior taste. For a while the father and the son kept the whole incident a closely guarded secret. But, since they allowed their cottage to be burnt quite frequently, the secret became known to the villagers which too were attracted by the aroma of succulent roast pork. Nobody has smelt anything like that before because, in that particular village, it has never been a custom to cook food. Even the jury and the judge found the taste of the burnt pigs irresistible. And so, from that time, the art roasting was discovered. However, there was a problem. From then on every time the villagers wanted roast pork for dinner, they went and burned their houses down!
Lamb wants to emphasize his love for the roasted pig by stating that though he is generous enough to share with his friends all the good things of life, he would not under any circumstances ever desire to share with them this very delicacy. He may have given away the whole cake to please a beggar, but he wouldn't like to part with a roast pig for anything in the world.
In waxing eloquent over his love for the roast pig, Lamb makes statements that seem to show signs of callousness towards the fate of the pigs. He enjoys the sight of the pig being roasted wherein the beautiful eyes of a pig melt and drop into the fire. Similarly, signs of cruelty can also be seen when he approves of a pig being whipped to death before being cooked. Lamb refers to elements like a judge, a jury and a regular trial which are essentially not a part of a primitive scene. Even the statement, "The insurance offices one and all shut up shop" shows how Lamb places a primitive incident in the context of contemporary times.
Lamb's style is sometimes perverse, outrageously overstuffed with archaic and pedantic words and phrases. In "A Dissertation upon Roast Pig" expressions like "the adhesive oleaginous," "villatic fowl," "intenerating and dulcifying," etc. do sound tedious at times but they do not, in any way, hinder the otherwise smooth flow evident in the narration. Likewise, this essay also abounds in the use of Latin expressions. But, here again, the progression of thought is not very much obstructed since it is not altogether difficult for a reader to understand the meaning of such Latin phrases from the context of the passages in question. The scholarly words and phrases are used in the mock heroic mode. Such an elevated diction is suited to epic poetry, to describe great events. When he uses it to describe trivial incidents, it is a source of humour.
A study of Lamb's style reveals his fondness for the styles adopted by various Elizabethan writers like Sir Thomas Browne, Spenser, Burton, Fuller and Izaac Walton. Lamb was undoubtedly fond of Elizabethan poets and playwrights and there are many points in which Lamb imitates these writers. But that does not mean that Lamb's style lacks originality. He succeeded in endowing his own thoughts with the strong imprint of his personality to give to his writings a strong dramatic quality not to be found in any of the writers mentioned above. Like a true Romantic, Lamb allows the spontaneous overflow of his powerful individual feelings and emotions to ignore the considerations of traditional and accepted norms of style and technique.
Reference: http://egyankosh.ac.in/bitstream/123456789/26891/1/Unit-24.pdf


Critical Analysis of Charles Lamb’s Essay Dream Children

M A English II Semester
Paper III
Prose II
Unit I
Critical Analysis of Charles Lamb’s Essay Dream Children
Most of the essays of Lamb are deeply personal and autobiographical. Lamb uses the essay as a vehicle of Self-revelation. He takes the reader into confidence and speaks about himself without reserve. These essays, acquaint us with Lamb's likes and dislikes, his preferences and aversions, his tastes and temperaments, his nature and disposition, his meditations and reflections, his observations and comments, his reactions to persons, events, and things and so on without openly taking himself as a subject.
Lamb is for ever speaking of himself. This constant pre-occupation with himself and his use of the personal pronoun "I" is by some described as his egotism. It is just that Lamb relates what he knows best. The past, like the present, offers him an inexhaustible store house from which he freely draws for his material. From the personal and autobiographical portions of the essays, it is possible to reconstruct the inner life and no little of the outer life of Lamb.
"Dream Children" is the reverie of a man who was intensely human and whose life was a tragedy. Lamb was born into a poor family, but poverty was not such a great misfortune as certain other misfortunes that befell him. Following an unsuccessful love affair with Ann Simmons, he became mentally unhinged and had to remain for some time in a lunatic asylum. In the following year, his sister was seized with acute mania and in a fit of madness stabbed her mother to death. Lamb displayed an admirable self-mastery, and exhibited a supreme self-sacrifice by undertaking the responsibility for the safe keeping of his sister who became prone to occasional fits of Lunacy. His essential humanity appears in this noble self-renunciation and singular loyalty as a brother. He sacrificed his own comfort and convenience for his sister's sake and was forced to give up the idea of marriage for some time for her sake, again, he had to leave London and go to the quiet countryside. He was thus deprived of the stimulating society of his literary friends to whom he used to give a monthly "at home". This deepened his listlessness and hopelessness. When he did think of marriage, with the full consent of his sister, his proposal to Fanny Kelly an actress, was rejected, and he remained a bachelor throughout his life. Thus was his life a tragedy.
Such was the man that wrote this essay which is highly moving, almost heart-rending, being imbued with the tragedy of his life. He gives a concrete shape to his unfulfilled paternal longings. This essay is a reverie because it contains a fanciful or imaginary account. Of his talk with the children whom he never had and who, therefore, have been called "dream children". Alice and John are the imaginary off - spring of his imaginary marriage with Ann Simmons whom he had loved in his youth but who had not responded to his love. Pathos is the key note of this essay.
"Here the children fell a - crying, and asked if their little mourning which they had on was not for uncle John, and they looked up, and prayed me not to go on about their uncle, but to tell them some stories about their pretty dead mother. Then I told how for seven long years, in hope sometimes, sometimes in despair, yet persisting ever, I courted the fair Alice W - n."
Here in these lines Lamb told the children something about their uncle John L - John L was a handsome and courageous youth and was very fond of riding and hunting. Then Lamb spoke of John L's death. At this the children began to cry and requested their father not to tell them anything more about Uncle John but to tell them some stories about their pretty dead mother. Then Lamb told them how for seven long years he had courted the fair Alice W - N. Sometimes in hope and sometimes in despair. As Lamb gazed at his children, he found that both of them gradually grew fainter, and then receded till he could see nothing but two sad features which appeared to be saying "We are not of Alice, nor of thee, nor are we children at all, "And Lamb woke up in his bachelor chair where he had fallen asleep and had been day - dreaming.
The end of the essay is marked by deep poignancy and heart breaking pathos. We are told how Lamb courted Alice W-N (Ann Simmons) for a long time without any success in his purpose. And then the dream children begin slowly to fade. They grow gradually fainter to Lamb's view and go on receding till only two mournful faces are in distinctly seen in the distance; saying; "we are not of Alice, nor of thee, nor are we children at all. We are only what might have been". This is the climax of pathos. We are deeply touched by the utter frustration of Lamb's hopes of a conjugal life and the Joys of having a family.
This essay is full of reminiscences and anecdotes as he recalls the lonely life of his grandma and then goes on to recall his memories of his own early boyhood. Recollections of his brother John. The retrospective character of this essay is, therefore, clearly seen. Lamb had a genius for reminiscence. He liked to chew the cud of memory. It is for this reason that he has been called "a visualizer of memories". This is essentially an autobiographical essay.
Reference: https://shodhganga.inflibnet.ac.in/bitstream/10603/85856/7/07_chapter%202.pdf

Wednesday, 15 April 2020

Detailed Study of Mahesh Dattani’s Final Solutions


M A English IV Semester
Paper II
Indian Writing in English II
Unit IV
Detailed Study of Mahesh Dattani’s Final Solutions
Mahesh Dattani is a well-known English playwright, actor and director of India. He is the first playwright in English to be awarded the Sahitya Akademi award for Final Solutions in 1998.The theme of the play Final Solutions is to highlight human weaknesses, selfishness, avarice and opportunism. Woven into the play are the issues of class and communities and the clashes between traditional and modern life style and value systems. The problem of minorities is not confined to only Hindus and Muslims, it eats the peace of any minority community among the majority.
"Final Solutions" has a powerful contemporary resonance and it addresses as issue of utmost concern to our society, i.e. the issue of communalism. The play presents different shades of the communalist attitude prevalent among Hindus and Muslims in its attempt to underline the stereotypes and clichés influencing the collective sensibility of one community against another. What distinguishes this work from other plays written on the subject is that it is neither sentimental in its appeal nor simplified in its approach.
It advances the objective candour of a social scientist while presenting a mosaic of diverse attitudes towards religious identity that often plunges the country into inhuman strife. Yet the issue is not moralised, as the demons of communal hatred are located not out in the street but deep within us.
The play moves from the partition to the present day communal riots. It probes into the religious bigotry by examining the attitudes of three generations of a middle-class Gujarati business family, Hardika, the grandmother, is obsessed with her father's murder during the partition turmoil and the betrayal by a Muslim friend, Zarine. Her son, Ramnik Gandhi, is haunted by the knowledge his fortunes were founded on a shop of Zarine's father, which was burnt down by his kinsmen.
Hardika's daughter-in-law, Aruna, lives by the strict code of the Hindu Samskar and the granddaughter, Smita, cannot allow herself a relationship with a Muslim boy. The pulls and counter-pulls of the family are exposed when two Muslim boys, Babban and Javed, seek shelter in their house on being chased by a baying Hindu mob.
Babban is a moderate while Javed is an aggressive youth. After a nightlong exchange of judgements and retorts between the characters, tolerance and forgetfulness emerge as the only possible solution of the crisis. Thus, the play becomes a timely reminder of the conflicts raging not only in India but in other parts of the world.
Mahesh Dattani's 'Final Solutions' is that rare look at a socio-political problem that defies all final solutions….Arvind Gaur's competent direction… intense, topical and artistically mounted, Asmita's 'Final Solutions' brought back memories of Habib Tanvir's rendition of 'Jis Lahore nahi Dekhya' and Saeed Mirza's 'Naseem.
'Final Solutions' touches us, and the bitter realities of our lives so closely that it becomes a difficult play to handle for the Indian Director. The past begins to determine the outlook of the present and thus the earlier contradictions re-emerge.
Although, no concrete solutions are provided in the play to the problem of communalism but it raises questions on secularism and pseudo secularism. It forces us to look at ourselves in relation to the attitudes that persist in the society. Final Solutions has taken the issues of the majority communities in different contexts and situations. It talks of the problems of cultural hegemony, how Hindus had to suffer at the hands of Muslim majority like the characters of Hardika/Daksha in Hussainabad. And how Muslims like Javed suffer in the setup of the majority Hindu community. This all resulted in communal riots and culminated in disruption of the normal social life, and thus hampered the progress of the nation.
Since it is an experiment in time and space and relates to memory, it is a play, which involves a lot of introspection on the part of the characters in the play and thus induces similar introspection in the viewers. It is an attempt to experiment with the chorus. It has been used in a style, which is called 'realistic stylisation'. The chorus represents the conflicts of the characters. Thus the chorus in a sense is the psycho-physical representation of the characters and also provides the audience with the visual images of the characters' conflicts.
There is no stereotyped use of the characterisation of the chorus because communalism has no face, it is an attitude and thus it becomes an image of the characters. The sets and properties used in the play are simple. This has been done to accentuate the internal conflicts and the subtext of the play. Theatre for 'Asmita' is a method of reflection, understanding and debating the contemporary socio-political issues through the process of the play and hope the play will also have a lasting impact on the audience.


Girish Karnad's Tughlaq: A Play in Thirteen Scenes as a Political Allegory


M A English IV Semester
Paper II
Indian Writing in English II
Unit III
Girish Karnad's Tughlaq: A Play in Thirteen Scenes as a Political Allegory

          Girish Karnad's second play Tughlaq was published in 1964. Tughlaq was an immediate success on the stage. It was first produced in Kannada in 1965 and by the same time in Hindi by the National School of Drama. Bengali and Marathi productions followed and in 1970 there was a major success. The reason or the immediate response for the play is the interesting story, intricate plot, and the scope for spectacle. Another reason is that it is a play of the 1960s and pictures the political mood of disillusionment which followed the Nehru era of idealism in the country.
         
The play, which is more than a political allegory, has puzzling qualities, which reflects the character of Tughlaq. All the other characters in the drama have complex personalities. This play has an “elusive and haunting quality”. In spite of the fact that the theme of the play is drawn from the history the author’s treatment is not historical. The use of “Prayer for the Murder” in the drama reminds one of what Tughlaq did to his father. The author has built up the play on opposites. “ideal and the real” the divine aspiration and deft intrigue Karnad did his best to dramatize the history of Sultan, Muhammad-Bin Tughlaq the fourteenth century impractical king who become tyrannical and Machiavellian in its activities. The rude stubbornness of the king negated the very basis of idealism. The author in this drama clearly brings out the mental shift of the king from a “benevolent ruler to a tyrannical shrieking head”. In this context it will be apt to point out that “Karnad maps Tughlaq progressive alienation from society, more significantly within the self in existential overtones. He infers that the protagonist is liberalism is cramped because of its alienation with time. Tughlaq was born at a wrong time and at a wrong place. The existential angst that permeates the text as another is a geography from an alienontology. The shift from an idealist king to a tyrant has the mapping of Camus in Caligula, which voices concerns borne out of Camus’ own lived in Algerian Experience”.

A political allegory is a story, fiction, drama or a painting that, on the surface, tells one tale, but has a hidden political meaning underneath. An allegory becomes political if it covers a political event or situation by producing a subtle commentary using other symbols.
         
Muhammad Bin- Tughlaq, the protagonist and the title bearer of the play Tughlaq is one of the most controversial and eccentric rulers of India. He is a brilliant but spectacularly unsuccessful fourteenth-century Islamic Sultan and is nicknamed as the 'Mad Muhammad' by his citizens. Karnad's primary historical source is the Tarikh-i-Firoz Shahi (1357), a chronicle history whose author, Zia-ud-din-Barani, spent seventeen years at Tughlaq's court. Using Barani's narrative, his attitudes and portions of his text, Karnad arranged the thirteen scenes of Tughlaq as a sequence that articulate both political and psychological ironies. Karnad in his own words says that, "What struck me absolutely about Tughlaq's history was that it was contemporary. The act that here was the most idealistic, the most intelligent king ever to come on the throne of Delhi... and one of the greatest failures also. And within a span of twenty years this tremendously capable man had gone to pieces...."
         
The opening of the play is set in front of the Chief Court of Justice in Delhi and there is a crowd of Muslims and Hindus. The drama sets into action with an exclamation, "God what's this country coming to!" Though the exclamation is addressed by an individual it is the one in every Indian minds today seeing the present scenarios. Hence the play has a significant opening and further on readers can come across a sound discussion of a Sultan, Tughlaq, the central figure of the play. Tughlaq's uncompromising idealism is strongly critiqued by the citizens and they seem to talk about a Brahmin, Vishnu Prasad whose suit against the Sultan is claimed just and he is returned not only his confiscated land but also given a job in "the civil service to ensure him a regular adequate income." This decision of the Sultan baffles the citizens and an old man reacts, "What folly is this! May Heaven guide our Sultan."
         
In the beginning of Tughlaq's rein, when he is in Delhi, he is a man of high ideals. He tries to introduce policies that would benefit his citizens but it earned him only the nickname "Muhammad the mad". Karnad depicts Tughlaq as one who sought to put aside religious differences in the hope of embracing secularism is a powerful issue in the drama. Tughlaq wishes for the unity between the Hindus and the Muslims stating, "Daulatabad is a city of Hindus and as the capital, it will symbolize the bond between Muslims and Hindus..." Tughlaq's vision fails here which has a sense of analogy of the time the play has written. In 1964, India had been less than two decades removed from Partition and Independence which led to a notion where direction and transformative vision was hard to establish. A nation born from Gandhian principles was tangled amongst secretarian violence and communal hatred which are the very elements that Karnad's Tughlaq desires to overcome in the drama. The theme of political aspiration being limited by temporal reality is significant both in the drama and the historical condition in which it was written.
         
Tughlaq's initial judgement upon a Brahmin and his emancipation of Hindus praying the 'jiziya tax' is misunderstood by the citizens and they oppose such moves. Tughlaq's policies and methods of political action are formulated with far-sighted vision of establishing a secular kingdom, but are instant failures as they fail to relate to the immediate reality of the subjects.

Tughlaq is a historical play but while writing it Karnad himself was struck by the parallelism between the reign of Tughlaq and contemporary history. The political chaos, which Karnad depicts in Tughlaq reminds many readers of the Nehru era in the Indian history. Karnad finds this similarity a coincidence. At every step the play reflects the chaos, disillusionment and corruption that followed the Nehru era and this is one of the most important reasons or the popularity of the play. Tughlaq ruled in the fourteenth century and Nehru in the 1950s and 1960s. Striking parallels can be drawn between the two ages and this makes Tughlaq a great political allegory.

Reference:



Sunday, 12 April 2020

Bharata's Natyashastra (Rasa and Bhava Theory)


In the Indian tradition, aesthetic experience is explained in terms of the concept of Rasa. Rasa can be explained as the aesthetic relish of the emotional tone in the suitably cultivated audience member. Bharata compiled the meaning of the multifaceted word Rasa into one sentence.
rasyate anena iti rasaḥ.
i.e. that which is relished is Rasa.

Bhāva, literally, means ‘existence’ and ‘mental state’. In aesthetic contexts, it has been translated as ‘feelings’, ‘psychological states’ and ‘emotions’. Bhāvas, in the context of performance, are the emotions represented in the performance. According to the Natyaśāstra, the oldest surviving compendium on the knowledge of performing arts:

“Bhāvas are so called, because through Words, Gestures and Representation of the Sattva, they infuse (bhāvayanti) the meaning of the play (into the spectators).”

According to the Natyaśāstra:
Vibhānubhāva vyabhicāri samyogada rasanispattih.
i.e. Sentiments (Rasa) is produced from a combination of Determinants (vibhāva), Consequents (anubhāva) and Complementary Psychological States (vyabhicāri bhāva).

The ‘vibhāvas’ or Determinants are the conditions and objects which give rise to the emotions. For example, in Hamlet, the determinants of the emotions within the play are Hamlet’s mother’s hasty remarriage to Claudius, the brother of her murdered husband and the visit paid to Hamlet by the ghost of his murdered father, among others. These factors arouse Hamlet’s suspicion against his uncle and mother.

The ‘anubhāvas’ include the performer’s gestures and other means to express the emotional states. These may be involuntary such as sweating, shivering and trembling or voluntary such as deliberate actions and gestures. Hamlet’s madness, pale countenance, unexpected behaviour, irrelevant remarks in conversation, his accusation of his mother and killing of Polonius are the consequence of the emotional state caused in him by the suspicions he harbours about the murder of his father.

The ‘vyabhicāri bhāvas’ are the Complementary Psychological States which exist temporarily in a performance but contribute to the overall emotional tone of the play. In Hamlet, Hamlet’s fear of his father’s ghost, angry outburst at his mother, sarcastic attitude towards the king, his feigned insanity, despair at the death of Ophelia are some of the fleeting emotions which contribute to the major theme of the play. The Vyabhicāri Bhāvas are 33 in number.

The overarching emotional tone of the play is known as the ‘Sthayibhāva’ or Durable Psychological State. The Natyaśāstra ascribes a kingly position to the Sthayibhāvas as ‘they have a large suit’ i.e. they have a larger sphere of influence that the bhāvas which come and go (Vyabhicāri Bhāvas). For example, the Sthayibhāva in Hamlet is that of Hamlet’s avenging anger. These are 8 in number and correspond to the Rasa as follows:

Durable Psychological State                                                                       Rasa
Love (rati)                                                                                                       The Erotic (śŗngara)
Laughter (hāsya)                                                                                            The Comic (hāsya)
Durable Psychological State                                                                       Rasa
Sorrow (śoka)                                                                                                The Pathetic (karuna)   
Anger (krodha)                                                                                              The Furious (raudra)
Energy (utsāha)                                                                                              The Heroic (vīra)
Fear (bhaya)                                                                                                   The Terrible (bhayānaka)
Disgust (jugupsā)                                                                                           The Odious (bībhatsa)
Astonishment (vismaya)                                                                                 The Marvellous (adbhuta)

Thus, the transformation that precipitates aesthetic experience is the conversion of the Sthayibhāva into Rasa by the addition of Vibhāvas (Determinants), Anubhāvas (Consequents) and Vyabhicāri bhāvas (Complementary Psychological States).

Pramod Kale in his book “The Theatric Universe” explains that the Natyaśāstra is a practical guide to effective communication addressed to the performer in theatre. He explains the concept of Bhāvas and Rasa saying that Bhāva enables the performer to “recreate the images contained in a dramatic text, so as to bring about the proper effect” and Rasa is the “framework of rules and regulations, to explain and achieve an effective communication, a rapport between the performers and the spectators. He gives us a table of the Sthayibhavas (Constant Modes) and their corresponding Vibhāvas (Indicators) and Anubhāvas (Sensors).
Constant Modes
Indicators
Sensors
Pleasure (Rati)
The season; decorating the body with garlands; anointing it (with colours and perfumes); ornaments; feasting; being in beautiful house etc.
Smiling face; sweet talk; play of the eyes and eyebrows; sidelong glances etc.
Mirth (Hāsya)
Mimicking others’ actions; nonsensical speech; forwardness; foolishness etc.
Laughter and other expressive emotions as already mentioned.
Sorrow (Sokā)
Separation from dear ones; loss of wealth; execution; imprisonment and other sad experiences etc.
Weeping profusely; moaning; crying; loss of colour; breaking of voice; weakness of limbs; falling down on the ground; lamentation; screaming; deep sighing etc.
Constant Modes
Indicators
Sensors
Wrath (Krodha)
Manhandling; dragging; quarrel; debate; antagonism etc.
Dilation of nostrils and eyes; biting of lips; throbbing at temples etc.
Vigour (Utsāha)
High spirits; strength; courage; bravery etc.
Poise; courage; sacrifice; learning etc.
Fear (Bhaya)
Offence against the king or teacher; a view of wild beasts; deserted house, forests, mountains, elephants; a stormy day, dark night; hearing the cry of owls and other nocturnal beings; getting berated etc.
Hands and feet trembling; palpitation of the heart; immobility; drying of the mouth and the tongue; perspiration; shivering; seeking refuge; running; getting dragged etc.
Disgust (Jugupsā)
Hearing, seeing or telling of things unpleasant.
The whole body drawing in; face pinched; head jumping; spitting.
Wonder (Vismaya)
Illusions, delusions caused by magic and supernatural powers; excellence of man’s art in painting, sculpture etc.
Widening the eyes; starting without batting an eyelid; raised eyebrows; hair-raising; head shaking; saying ‘well done’ etc.

The Natyaśāstra analogizes this relationship with the preparation of food. It states: “Just as well-disposed persons, while eating food cooked with many kinds of spice, enjoy (āsvādayanti) its tastes, and attain pleasure and satisfaction, so the cultured people taste the Durable Psychological States while they see them represented by an expression of the various Psychological States with Words, Gestures and Sattva, and derive pleasure and satisfaction.”

J.A Honeywell states that: “(Rasa) is not an objective entity which exists independently of the experience as the object experienced; the existence of Rasa and the experience of Rasa are identical.”
Thus, without an audience to discern Rasa from the anubhāvas of the performers, Rasa does not exist. Similarly, without the performers or a performance, Rasa does not exist. For Rasa to exist, there needs to be a source which transmits certain emotions and a receiver who will receive and feel these emotions. The transmitter- receiver can be a theatrical performance and its audience, a written poem and its reader, a piece of music and its listener or a painting and someone who looks at it.

Theatre is a kind of mimesis of the world and thus Rasa, as the specific quality of theatre, also derives from it, this special relationship. Theatre takes place in the world and the world too has a presence in theatre. By imitating the actions of the world in their universality rather than their actuality, theatre is often more ‘real’ than the real world.

Angelika Heckel states that: “The essential trait of the theatrical performance is to be sought in the presence of the situation, the sphere between the stage and the audience is the place of this presence.” ‘Abhinaya’ is the means of conveyance that uses the stage to establish this ‘between’ in a theatrical performance.
Abhinaya, however, cannot transport Rasa. Only when the relationship between the stage and the audience is realized as an event, Rasa is realized, for which there are requirements, also, on the part of the audience. This ‘between’ appears when the audience grasps the ‘artha’ of the play through the ‘bhāva’ which is unfolded in the performance.

References:
1. http://rinistudytable.blogspot.com/2012/08/bhava-and-rasa-in-bharatas-natyasastra.html
2. The Natyaśāstra translated by Manomohan Ghosh; Calcutta; Granthalaya; 1967.
3. Rasa: The Audience and the Stage; Angelika Heckel; Journal of Arts and Ideas (17-18); 1991.
4. An Alchemy of Emotion: Rasa and Aesthetic Breakthroughs; Kathleen Marie Higgins; Journal of Aesthetics and Art Criticism; 2007.
5. Reflections on Some Aspects of the Theory of Rasa; Eliot Deutsch; in the book Sanskrit Drama in Performance edited by Rachel Van M. Baumer, James R. Brandon; University of Hawaii Press; 1981.
6. Rasa in Sanskrit Drama; Princy Sunil; Indian Review of World Literature in English, 2005.
7. The Theatric Universe; Pramod Kale; Popular Prakashan Pvt Ltd; 1974.