ISSN: 0976-5247

NOTIONS A Peer Reviewed Journal of English Literature

Vol-II No. 4 December 2012

Chief Editor Dr. Vikas Sharma

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and Research in English D.A.V.(PG)College, Bulandshahr (UP)

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201 21. The Deadly Consequence of Neglecting the

Norms of the Social Institutions in Sunetra Gupta's

Glassblower's Breath

Ruby Vaneesa

Dr.S. Ayyappa Raja

n22. From Empror To The African Savage 212

:An Examination of O'Neill's Emperor Jones

Dr. G.N.Umesh 219

23. The Teacher as a Researcher in English Language 219

Teaching Classes: A Cognitive Development Perspective

Dr. A. Selvaraj

Views expressed in the articles belong to authors and publisher is not responsible tor it

From Empror To The African

Savage:An Examination of O'Neill's Emperor Jones 22

Dr. G.N.Umesh*

The Emperor. Brutus Jones, is a burly black American

who broke out of prison in the United States and as a stowaway

escaped to and found his way to an island in the West Indies as

not yet self-detemined by White Mariners. At the beginning of

the play, Jones appearsapowerfully built, middle-aged black.

His face displays an underlying strength of will, a hardy, self

reliant confidence in himself that inspires respect. His eyes are

alive with akeen, cunning intelligence. In manner he is shrewd,

suspicious, evasive. He is also sufiticiently bold, ingenious and

unscrupulous to make himself rulerof the island within two years.

He moves around unharmed among his sullen subjects who

hate him very much. The legend he assiduously spread around

that only a silver bullet could kill him made them hate him still

more. He was favoured by luck when a native once tried to

shoot him at point-blank range, for the gun missed fire; Jones

made good use of that attempt to make his subjects believe

that he led a charmed life. But now, when he had just about

squeezed from his subjects and country all the wealth they could

yield, he plans flight. As the play begins, the measured beat of a

tom-tom in the hills warns him that the natives are in conclave

there, making magic and working up courage to confront him

and kill him.

Assistant Professor, Department of English, Kalpataru

First Grade Science College, Tiptur

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DECCAN LITERARY

JOURNAL Indexed with International

ISSN Directory, Paris VOLUME v ISSUE: 8 JAN 2015 Chief Editor:Dr. D.T.Angadi Edtor in Chief: Dr S.G. Dolegoudar

ISSN 2249-1910

Search for meaning in Art and Life in Anitha Nairs

Novel: Mistress

f's

- Dr.G.N.Umesh LBAR0

GE SP0MER

Anitha Nair has employed "quest" as some kind of a pertorming animal.She was

humiliation he the central motif in the novel titled Mistress. touched by the thought of numiliation he

it is a novel of art and adultery where the must have experienced arter giving eight

characters are out on a quest of conscious to ten years to learning this Complex art

ness. Each tries to wave there past The question "what are the compromises

experience into a pattern and find meaning that an artist make in order to survive?2"

in their present existence. A travel writer becomes the recurring theme in the novel

Christopher Stewart arrives at a river side Mistress. the novelist does not satisfy resort in Kerala to meet Komarn, Radha's herself with a question of this kind being

uncle anda famous kathakali dancer.With addresses to an artist alone but extends it

this journey taken by him he enters world to the life experiences of all the characters

of masks and repressed emotions. From in the novel. Each character is taunted by

their first meeting, both Radha and her inability to identify the com promises to be

uncle are drawn to the enigmatic young made to lead a peaceful life.

man, Chris, with his cello and his incessant

questions about the past.The triangle To begin with, I consider that the

narrative technique adopted by the novelist quickly excludes Shyam, Radha's husband in the novels clearly sets her apart. It who can only watch helplessly as Si she

deviates from the common narrativeembraces Chris witha passion that Shyam has never been able to draw from her. technique adopted by other writers. The

Koman plays the role of observer particinovel is divided into three books with each

pant, his life story, as it unfolds, captures as the nuances and contradictions of the

used to title the chapters thereby linking the

relationship being made and un- made in two aspects namely art and life. The art

front of hi eyes. Anitha Nair in an inter view with ARUNA Chandraraju traces the of masks and repressed emotions symbolize

source of this novel to an experience she had the struggle ofeach character of the novel

in 2000-01. She observed a kathakali dancer The begins with the prologue which sets the

being taken around to various agencies like

having three chapters. Kathakali lexicon is

form becomes a metaphor of life. The world

mood of the novel

Dr.G.N.Umesh, Prof. of English, Kalpataru Vidya Samsthe, Tiptur.

50 Deccan Literary Journal/Volume :IV. Issue VIII. Januar 01>

ISSN 22312137

CONTEMPORARY RESEARCH IN INDIA A Peer-Reviewed Multi-Disciplinary International Journal Volume -2 : ssue-3: September, 2012

Deepak Nanaware Editor-in-Chief

www.contemporaryresearchindia.com.

ORARY RESEARCH IN INDIA (ISSN 2231-2137): VOL. 2: 1SSsUE: 3 147 THE NOTION OF ECCENTRICITY IN R.K. NARAYAN'S NOVELS G.N.Umesh, Department of English, Kalapataru Vidya Samsthe, Tiptur, Karnataka

cONTE

ANEPAAYREEARDH NNDA

SSN 2231 2137

Abstract:ak of eccentricity seems tO De projeCled iougn the magniífying glass of exaggeration. The eccentric is alzed though the comic filter e su mic fter. One may discern the detached delineation of the caricature. And finally, one may also note

uans fair for the meaningful names. Ebeneza for instance, strikes an easy contrast to and juxtaposed with the young hero Swaminathan, a characte fully realized as a Hindu boy.

scripture teacher at the Albert Mission School in Swami and Friends. Ebenezar's streak of eccentricity is chiefly dramatized through his fanatical attitude. The scripture teacher seems to have been literaly lifted from Narayan's

The term eccentricity may be defined as the state

or quality of being eccentric and the Oxford English icionary offers the following shades of meaning:

The quality of being abnormally centred; of not being concentric; of not having the centre.

The condition of not being centrally situated, distance 'school days' life. In My Days Narayan says: "The teachers were all converts, and, towards the few non - Christian students like me, they displayed a lot of hatred... The scripture classes were mosty devoted to attacking and lampooning the Hindu gods and violent abuse were heaped on idol - worshippers as a prelude to glorifying Jesus"". Ebenezar in (SAF) seems to be repeating the attude of Narayan's teacher in his extolling feference. At the outset eccentricity, either as a streak or the virtues of Jesus Christ and denouncing the Hindu Gods in general and shri Krishna in particular. Narayan presents the scene with Ebenezer's obvious theaticality thus: "Oh, wreiched idiots!" the teacher said, clenching his fists, 'why do you worship dirty, lifeless wooden idols

and stone images?. Now see our Lord Jesus. He could Gure the sick, relieve the poor, and take us to Heaven. Tears rolled down Ebenezar's cheeks when he pictured

from centre.

2 Of a curve; Deviaton from the circular form. 3. The quality or habit of deviating from what is usual or

regular, irregularity; oddity; whimsicality. Considering Narayan's notion of eccentricity, the

OED frame of meanings may certainly serve as a point of

2s a full-fedged nature, in the cortex of Naray an's characters, underlines the oddity or whimsicality in human hature. However, a close reading of the Narayan novels feveals that eccentricity seems to be the novelist's strategy b focus on life's basic inconsistencies.

At the outset the typology of eccentricity makes ne aware of the rather alarming number of the eccentrics Narayan's novels. In fact, Narayan himself seems to nk that more eccentrics people live here than elsewhere' (Mani, 84). One may char acter in Malgudi novels eentic. Natur ally, the eccentric seems to have largey

Jesus before him. Next moment his face became purple with rage as he thought of Sri Krishna?.

nay even say that every third t is evident that Ebenezar's inflammable

contributed to opulate Narayan's nove and seems to be

denouncing of the Hindu Gods turns into a delightful

comicality as it is realized in the innocent world of

Swaminathan. In fact it is Swaminathan who turns the

seems to be an

Aeasing with every new Deing aware of pesence. They app

play divergen per sonality traits. One may also note that

novel of his. One cannot help their appear in diversified arances and

episode into an anti - climax by retorting the teacher that if

Jesus was so great why he was crucified and asking, if he josting and clamouring was a God, why did he eat flesh and fish and drink

Wine? Ebenezar is a one liner and a one-dimensional

pencil sketch.

Narayan's future novels, he remains one of the memorable

te eccentric character, in Naraya yan, may appear as a mer a rnere line or a ful-fedged study.Ebenezar,

However, instaling the eccentrics in

ent of the Biblical namesake, seems to be the first htic in the Malgudi caricatures.

novels. He appears as Swa

ISSN 2231-2137

OMLSH

CONTEMPORARY RESEARCH IN INDIA A Peer-Reviewed Multi-Disciplinary International Journal Volume -2: Issue -4: December, 2012

Deepak Nanaware Editor-in-Chief

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IONTEMPORARY RESEARCH IN PNDIA (SSN 2231-2137) VOL 2:ISSUE 4 164

THE NATURE AND TREATMENT OF INNOCENCE IN RKNARAY AN'S SWAMY AND FRIENDS

G limesh Ast Prof of Enghsh Kalpaiaru First Grade Science C ollege Iiptur

Tumkur iarnaiaka

suggestvch introducod first Stagt of thc ashrama

Systcm namcl the brahrmacharyashrana At the outst Swami and Priends may be

ruad as an ep1sodc story of school - boys. ral1zed

f sm 2 pr-TuuIst 1o understand IE TI LAnng o tic 1n mocece wth all the

TTIN bocausc cE NSLLie thc ucious oi ths seooD of

aTzi pTzrih deiIned as the qualit o taci their typical psychology through characicrIStically dranatizcd Usadvcntures The

school boy s cpic has the most striing and all

and

Caford o ut or moral wr ODE

Englash Ducto peTvasi vc TIDg of noccncc about it The novella

scems to cxude i It may also be pomed out that

altbough all the boys in the novclla sccn to be dramatizing innocencc t is basically Swam1nathanthe central consciousness in it. probably inspired by the child-God. Balasubramanium Swami through

wbom it is chicfly real1zed

2 LmLsd wh vl mora purt irvodom from

s zuit he an cr uor being gunity or that wth

wuci e rgod gutless iseodon rom guticssness.

tcmceaT owiudpe orscnse Camutg artiessnes

2d of thngs Harmless. The basic thenc of illusion versus scality -

one of the installing featurcs of Narayan's latcr

novels has becn doceptivcly dramatized through the be poumed out that the

aibove- ucatoed frzame of mvaings may serve as a

P o sedercnce. turn 1 aralyse thc rnature

aud rezuear od muOCe n Narava 5 Dovcls

Isadventures of Swami and his cronics in Swam1

and Friends Narayan scems to have employcd the

Stratogy of two-prongcd consciousncss for the

dramatizauon of the theme Puttng t diffcrcntly, the

Cnurc capCTICnce of the school-boys 1s pcrceivcd as

thcir fresh. innoccnt untainted and unacquainted awarcncss. and it is s1multancously filtcrcd through the adult and experienced consciousnes5

CEaracT IDa

kara an ocdas aauciar DoDCDOE as the

gomeral tad iurn trat the typolog of

CETCE nd 1 ioCus D thsee dasunct

cascgornes te cheracas Narzyan's Dovcd (a) dhe chuidr cn b) the gown - ups passung through the

Sw amu and Friends unfolds the episodic stor nstall1ng yct another structural device in Narayan's latcr novels - mostly in the third person

nasration affording the novclhst the dcsirable

distancing for the delincation of the characteristic world of Swam1 and his friends The novclist also sccms to be well - cquippcd with minutely obscrvant

cye and the reportorial gift to underlinc the pre

adolcscct psychology of Swaminathan and hs

scmd chidkood and (c) the rustacs

Narayn prevats a characiuristuc spuctacle of

Atbough he underlincs

sweveral facs of ianczo. the markodly telescopod

type oeu to be load in hus chuld characters. One

ccou svoral types of child dolincatsons in

arz bu wams and Fnends,Narayan' s first

Cwcla ma be cmeadad as a full-fledgod study of

wms ogcally significant that

azy h 2 t dlinct the otire ife span of

has chzarax T his latct rvcls, should being at the ogng fe tsedf The therDe of innocnce Seami and iriendi may also be taken as the

mates

Although the overall nature of innocencein Swami and Friends s realized through the school-

boy's psychology. it has been primarily focused through the1r gnorance Onc way of reading Swami

ISSN 2231-2137

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17 CONTLMPORARY RESEARCH IN INDIA (ISSN 2231-2137): VOL. 4: ISSUE: 4

THE CONCEPT AND NATURE OF REBELLION IN R.K. NARAYAN'S

NOVELS

Dr.G.NUmesh, Dept of English, Kalpataru Vidya Samsthe, Tiptur, Karnataka

CONTEMPORARY RESEACH IN NCUA 188N 2231 2137

One of he meanings of the word cternal rcbel. Onc is awarc of the innocent nature of his

rcbellion in the Oaford English Dictionary is: "Open or

dctermincd defence of, or resistance to, any authority or

controlling power." Albert Camus in The Rebel vicws

rebellion thus: "The problem of rebellion only scems to

rcbcllion and thercfore, hc may in fact be conceived as

the innocent rcbel. And despite an extremcly flimsy nature of his rcbcllion, he deserves consideration,

assume a precisc mcaning within the coníines of

Western hought.. In fact for the Inca and | lindu|

pariah the problem of revolt never arises, because il has

been solved by tradition before they had time to raise it - the answer being that tradition is sacrosanct". To the of life. Putting it diffcrently, although Swami displays

because Swami is Narayan's first potential rebel. He

seems to havc been realized through the novelist's dual

perception of rebcllion: rcbellion as Swami's natural

and instinctive trait and rcbellion, in its symbolic

connotation. born out of Swami's illusive understanding

certain rovolting or defying tendencies, in thcir mild

realization perhaps, his rebellion in its entirety is taken

as a deviation from thc accepted norms.

OED's and Camus's views, which may serve as the

backdrop and the pointers throughout the typology of

rebcllion, onc may add that rebcllion as such is a part

and parccl of human consciousness.

human tendency, it scems to have its roots in the stout

of "Man's first Disobedience." Satan, in the guise of the

talking serpcnt scemed to have instilled the esscnce of

rebcllion into Eve's consciousness. But apart from its

Biblical roots, the idca behind the forbidden fruit hasa

As a natural To understand the nature of Swami's rebellion

is, pcrhaps, to tclecscope the rebellious influcnces on

him. Mani, the young hero's alter-cgo and who, in fact,

moves likc his shadow, remains one lasting influence on Swami. Swaminathan cannot remain unaffected in the company of Mani who sccms to be epitomizing and Oxuding rcbcllious tendencies. As a matter of fact the

sensitive and imprcssionistic Swami comes to hero-

worship Mani and kceps feeding his own fancy on the

universal appcal. It underlincs the instinct to break the

code and disobey the commandment. Incidentally, it

may account for the number of "Thou Shalt Nots." At the outset, the typological term rebcllion

may indecd appcar paradoxical and irrelevant in the context of Narayan's novcls. The Narayan charactecrs

are realized through a prcordaincdly conccived world, have an acute karma-consciousncss and imbibe the

latter's heroie decds. As the rebcl lands in the no man's land, the

Mempi Forest, as he undergocs the painful journey and finally is brought back home, almost from the death-

trap, providentially perhaps, Narayan seems to have added a dimcnsion to the popularly understood notion

It no more remains just one more

rebellion. What scems to make the writer's approach to Swami's defiance different and even uniquc is his concoption of the boy's forest escapade. As suggested carlier, the journey becomcs the writer's strategy,

known as rite de passage. Taken in its scnse of "the

passage of cducating expericnce, normally by change of

place, the rite de passage offers a new perspective to

pervading spirit of thc cultural tradition. Thcirs is cssentially a sacrosanct tradition. Rcbcllion against the of rcbellion. accepted mcaningless. Camus's vicw that the Indians cannot rebcl because thcy hot their answcrs ready in thecir myths, bccomes pertinent on this context. In other words, in the tradition of Acccptance, rcbcllion may be

interprcted as cultural aberration. In fact, rcbcllion as such in the world of Narayan's novels is regarded more of a deviation than a defiance. lt is here that Narayan's prescntmcnt of his typical rcbels may be considered as an interesting study of rebellion suggesting socio-

psycho-cultural implications

norms of their tradition appcars

Swami's rebellion. The young hero's rebcllion may be regarded as

the novelist's strategy to projcct the world of Swami's illusions. Considered thus, Swami secms to have been misled, thanks mainly to his inflated cgo nourished by

ccar illustration of innocence, he is viewed as the the tempting influences of Mani and Rajam. making Swami in (SAF), though stands obviously as a