Paper no: -4 “Indian Writing in English”

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q Name: - Lalji G. Baraiya.

q Course: - M.A.-1, Sem-1.

q Year: - 2018-20.

q Roll no.:- 21.

q Enrollment no.:-2069108420190001.

q G-mail Id.:- laljibaraiya789@gmail.com.

    q  Topic: - Write a detailed note on essay’s general estimate on drama in India             during the independence

q  Submitted to: - Smt. S.B.Gardi.Dep.of English Maharaja Krishnakumarsinhji Bhavnagar University.

q   Words:- 1,621

                             We know that during the independence time India has a renaissance time for Indian literature. We know that India is a development country but when we get freedom at that time we have not law and we have not proper structure for write drama but during that time writer mostly wrote in language of Sanskrit. India was a colorful country because during that time more difference cast, class, religion and social people lived in India. So there were effect of their tradition and living matter.

Indian theater was most ancient rather than modern era. It was also known for Indo- European and Asian theater.  During that time effects  and detailed of textual, sculptural and dramatic. We know that like in that era famous of music and dance.

  v  Classical age:-

                             We can divide in three parts of Indian specific period: the classical age, traditional age, and modern age. At the period of 1000 C.E. the classical age dominated by the Sanskrit drama. During that time mostly play depends on stories like as histories, folk legends, and epic.

                            During classical period well known playwright Kalidas mostly his work found in third and sixth centuries. His famous three stories depict on royalty and myth of in old world India like as Malvikagnimitra, Vikramorvarshiya and Ahijnanashakuntala. Kalidas was considered the Indian Shakespeare.

                            The classical theater of India was the Sanskrit theater which came the development of Greek and Roman theater in the west. The invading army staged Greek style plays and picked up the performance art. Indian theater exerted influence +-beyond its borders, reaching ancient China and other countries in the Far East.

                           Well known Bhasa was the Sanskrit dramatist to give us complete play and ancients Indian epic poem, the Mahabharata is the source for his six one acts. Shudraka was a fifth or sixth century playwright known for a Sanskrit comedy called Mricchakatika.

  v  Traditional age:-

                      The traditional period from 1000 C.E. to 1700 C.E. introduced regional languages, improvising and pastoral sensibility to the stage. The plays were presented verbally rather then using written scripts. In that period, traditions and stories were passed down orally.  

   v  Modern age:-

                        Beginning  of the late eighteenth century through the nineteenth century. When the time of the British consolidation in India and the East India  Company, the modern period was marked by the influence of western theater.

                    The family is important in Indian literature and drama. Both the Mahabharata and Ramayana—the two most famous works of Indian literature there are family epics, featuring cousins, uncles and aunts “struggling and killing each other over land and dharma and then mourning inconsolably." Many Am erican dramas feature tough individuals. When these stories are adapted to India the individuals are first given a mother, father and ideally a brother or sister.

  Sanskrit is the ancient language of India and the sacred language of Hinduism. The Asian cousin of Latin and Greek, it is ideal for chanting as it is full of sounds that resonate in a special way. Traditionally it was a taboo for any caste other than Brahmans (India’s highest caste) to learn Sanskrit—"the language of the gods." The Hindu epic Ramayana described a lower caste man who had molten metal poured in his ear after he listened to Sanskrit scriptures reserved for upper class Brahmans.

  v  Kalidas:-

                    Kalidas was a greatest Sanskrit dramatist and poet. The celebrity of his name, When he flourished always had been unsettled questions and always scholars. During the reigns of chadragupta II Vicramaaditya and his successor Kumaaragupta. Undetermined also was the place of Kaalidas principal literary activity as the frequent and minute geographic allusions in his works.

  v  Kalidasa’s work :-

                     Kalidas was the most famous for play writer. There were three plays and the earliest of which was probably the Malvikaagnimitra. This was story of Malvikagni and Agnimitra. Agnimitra  concerting with palace intrigue. It was special interest because the hero was a historical figure. King Animitra whose father of Pushpamitra.      

                    The Vicramovarshiyam was based on the love story of the mortal pururvaas for the heavenly damsel Urvashi. The legend was occurs in embryonic form in a hymn of the Rig Veda and in a much amplified version in the Shatapathabraahmana. 

                         We learn further that Kalidasa was traveled widely in India. The fourth canto of The Dynasty of Raghu described a tour about the India and even into regions which are beyond the borders of a narrowly measured India. It was hard to believed that Kalidasa had not himself made such a “grand tour”; so much of truth there may be in the tradition which sends him on a pilgrimage to Southern India. The thirteenth can of the same epic and The Cloud-Messenger also describe long journeys over India, for the most part through regions far from Ujain. It was the mountains which impress him most deeply. His works are full of the Himalayas. Apart from his earliest drama and the slight poem called The Seasons, there was not one of them which was not fairly redolent of mountains. The Birth of the War-god, might be said to be all mountains. Nor had it only Himalayan grandeur and sublimity which attracted him; for, as a Hindu critic had acutely observed, he is the only Sanskrit poet who has described a certain flower that grows in Kashmir. The sea interested him less. To him, as to most Hindus, the ocean was a beautiful terrible barrier, not a highway to adventure. The “sea-belted earth” of which Kalidasa speaks means to him the mainland of India.

  v  Jawaharlal Nehru:-

     
                             Jawaharlal Nehru wrote and also give speeches merges with his life, and his life of the nation. You may approach his Glimpses of world history and The discovery of India, his Autobiography and his speeches, merely as a literature.

                             Jawaharlal Nehru’s father, Motilal Nehru- Motilal the Magnificent as he might have been called was more an antique Roman than an oriental and his best speeches always bore the impress of a master mind. The leading lawyer in his own province of what is now known as Uttar Pradesh the call of country made a new man of him at the age of sixty. The Punjab Tragedy stirred him to the depths and in the course of his great presidential address before the Amritsar congress. He painted a lurid picture of the ‘author’ of the tragedy.

  v  Mulkraj Annada:-

                              One of his books was curries and other Indian dishes after all as Norman Douglas once remarked the curry is Indian greatest  contribution to civilization. Other early books were person painting, the Hindu view of art, the golden breath the last being an introduction to the work of Tagore, Iqbal, Puran Singh, Sarojini Naidu and Harindranath Chattopadhyaya.

                            The first five novels appeared in the following sequence: Untouchable, coolie, two leave and a bud, the village and across the black waters.

v  Raja Rao:-

Sri K. Raja Rao (8 November 1908 – 8 July 2006) was an Indian writer of English-language novels and short stories, whose works are deeply rooted in Metaphysics. The Serpent and the Rope (1960), semi auto biographical novel recounting a search for spiritual truth in Europe and India, established him as one of the finest Indian prose stylists and won him the Sahitya academy awards in  1964. For the entire body of his work, Rao was award. Rao's wide-ranging body of work, spanning a number of genres, is seen as a varied and significant contribution to Indian English literature, as well as World literature as a whole.

•        Narayan:-

Narayan highlights the social context and everyday life of his characters. He has been compared to who also created a similar fictional town and likewise explored with humour and compassion the energy of ordinary life. Narayan's short stories have been compared with those of  because of his ability to compress a narrative. However, he has also been criticised for the simplicity of his prose. 

Rushdie's statement in his book – "the ironic proposition that India's best writing since independence may have been done in the language of the departed imperialists is simply too much for some folks to bear" – created a lot of resentment among many writers, including writers in English. In his book, Amit Chaudhuri questions – "Can it be true that Indian writing, that endlessly rich, complex and problematic entity, is to be represented by a handful of writers who write in English, who live in England or America and whom one might have met at a party?"

Chaudhuri feels that after Rushdie, IWE started employing magical realism, bagginess, non-linear narrative and hybrid language to sustain themes seen as microcosms of India and supposedly reflecting Indian conditions. He contrasts this with the works of earlier writers such as Narayan where the use of English is pure, but the deciphering of meaning needs cultural familiarity. He also feels that Indianans is a theme constructed only in IWE and does not articulate itself in the vernacular literature. He further adds "the post-colonial novel, becomes a trope for an ideal hybridity by which the West celebrates not so much Indianans, whatever that infinitely complex thing is, but its own historical quest, its reinterpretation of itself".