Sunday, March 29, 2015

The Theme of the Novel "The Apprentice" - Arun Joshi

THE APPRENTICE – ARUN JOSHI

# Write the theme of the novel ‘The Apprentice’.

Ratan Rathor, the protagonist and also narrator of the story in the novel ‘The Apprentice’, who recounts the story of his own life in an episodic and reflective manner. He is initially an idealist like his father whose martyrdom gave him a strong impression on idealism and moral values but later he sacrificed his idealism and moral values in the face of the harsh, frustrating realities of bourgeois (middle class) existence.

It may be argued that ‘The Apprentice’ is predominantly about money, power, politics and corruption. The novel basically deals with how the New Slavery has come into existence after independence with new masters: politicians, officials (bureaucrats) and the rich.  At the outset the narration of the story in the novel is directly aims at exposing social degradation and political corruption of post-independent India. It is also be argued that the novel deals with the problem of character building, since Ratan Rathor the young idealist authored an essay ‘on the crisis of character’ to his college magazine which won the first prize for the year.   
Ratan Rathor has seen two pictures of India: the colonial India that produced a nation of clerks, the pillars of British Raj, and the post-independent India, which, in spite of fervent patriotism, ancient heritage, and Gandhian moral enthusiasm, is still overwhelmed by the British colonial tradition, which emphasis the spirit of docility and obedience as values that makes the middle-class so blindly follow its masters. The unique class of clerks is ironically portrayed by Joshi in his novel ‘The Apprentice’ as a class of emaciated men whose ambition does not extend beyond the constricting goals of clerkship, career-hunting, matrimonial game-planning and other highly charged ritualistic games involving status and money.

It was in the India of the 1940s and 1950s; Ratan Rathor first finds himself confronting with two worlds: one, the world of his father that is the world of idealism, patriotism, social and moral concern and the other is crippled world of bourgeois filth. No doubt poverty is a fertile soil for breeding crime, but it is seen in both the rich and the bourgeoisie of the pre-independence and the post-independence periods, who will do anything to gratify their indulgent lust for money. Joshi’s astute analysis of crumbling values of the bourgeoisie and its complete absence of ethical values and concerns in the name of aristocracy reveals the nature of the moral and psychological conflict among the people like Rathan Rathor, who has come from bourgeois class of society. Ironically, Ratan Rathor’s mother, a tuberculosis patient, is a staunch realist who knows fully about the practical value of money states categorically that without money life and all its idealism are totally meaningless. Rathor’s mother warned her husband not to give up his Law-practice for the sake of the falsetto idealism of Mahatma Gandhi. Following her husband’s sacrificial death, she is more convinced about the value of money. 
The self-destructive confusion and moral ambivalence of Ratan Rathor, which finally make him succumb to the mounting temptation of accepting tainted money by sacrificing his patriotism and honour, result from the spineless structure of bourgeois morality. By accepting the bribe from Himmat Singh, he has risked the lives of thousands of patriotic soldiers who fought with the enemy with inferior weapons. Ironically, when it comes to rationalization –— one of the last resorts of a criminal like our hero –— Ratan Rathor is frantically obsessed more by his honour than by the severity and magnitude of his crime.  

Ratan Rathor is guilty of accepting a bribe would characterize as compound fraud, the sin against community. His bribery and fraud threatened his honour for which he determined to take revenge from Himmat Singh, and then from the Secretary who hatched a conspiracy of supplying defective weapons to the army and also responsible for the committing suicide of his childhood friend Brigadier. Ratan Rathor did not opt for death like his Brigadier friend for his guilt of accepting bribe but expiate his guilt in more Gandhian way than Vedantic way:

“Each morning, before I go to work, I come here. I sit on the steps of the temple and while they pray I wipe the shoes of the congregation. Then, when they are gone, I stand in the doorway. I never enter the temple. I am not concerned with what goes on in there. I stand at the doorstep and I fold my hands, my hands smelling of leather and I say things. Be good, I tell myself. Be good. Be decent. Be of use. Then, I beg forgiveness. Of a large host: my father, my mother, the brigadier, the unknown dead of the war, of those whom I harmed, with deliberation and with cunning, of all those who have been the victims of my cleverness, those whom I could have helped and did not.
After this I get into my car and go to office. And during the day whenever I find myself getting to be clever, lazy, vain, indifferent, I put up my hands to my face and there is the smell of hundred feet that must at that moment be toiling somewhere and I am put in my place.”
Thus Ratan Rathor’s search for spiritual identity includes his concern for humanity. Ratan Rathor is freed from the fear of a possible judgement of society, but he remains bound to his own moral conscience in a voluntary attempt to redeem himself from the sin he had committed. However in the process of discovery of self there are magical moments when the individual sees congruence between social morality and individual consciousness.

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THE APPRENTICE — ARUN JOSHI

# Write an essay on the character of Ratan Rator, the protagonist of the novel, ‘The Apprentice’

Ratan Rathor, the protagonist, who narrates the story of his life to a N.C.C. cadet who came to New Delhi to participate in the Republic Day parade. Ratan narrates his own story an episode after another episode ranging from his childhood to his apprenticeship and as a shoeshiner on the steps of a temple as a sort of expiation (redemption) for his sins. The novel, ‘The Apprentice’ deals with Ratan Rathor’s adolescent innocence, his manly experience and his saintly expiation.

Ratan Rathor presents before us a background of his childhood life both before and after the death of his father. Ratna has been an eye-witness to the sight of his father lying dead, who was brutally killed by a British Sergeant while he was leading a procession protesting against British Rule in India. Ratan Rathor, with the background of his middle class family, is torn between the world of his father’s idealism and his mother’s pragmatism. On one hand his father, an ardent patriot, gives up his lucrative practice as a lawyer to politics at Gandhi’s call. Up holding moral values, he donates everything to the national cause without thinking of his family’s difficulties. On other hand his mother, who was disillusioned about the sacrifices made by the patriots during the freedom struggle. A woman suffering all the time physically, mentally, and economically may become almost cynical about money as it is the only means needed to make a man’s life happy in this world.

As a student Ratan Rathor also had ideals like his father and hoped that free India will bring new light to the citizens of the Republic. But, after the achievement of Independence all his hopes for better India have shattered.  He thought that the politicians of free India are worse substitutes for the alien Englishmen. This problem becomes so nagging that Ratan Rathor compelled to think that it has simply given us New Slavery: “yes a new slavery with new masters; politicians, officials, the rich, the old and new. Swindlers in fancy cars.”
When Ratan Rathor comes to Delhi, ‘a city of opportunities’, after his graduation in search of a job for his livelihood, he is disillusioned with stark realities of the present system. In his search for employment he realizes that the posts advertised are already filled in some manner. Even his father’s friends could not come to his aid for finding job for him. During his stay in Delhi he gets shelter in a sarai (inn) beside a masque where several others also occupy the same room with him. A stenographer living at the same inn, manages a temporary job for him in a Government office, dealing with war purchases. 
  
Thus Ratan Rathor begins his life as an apprentice clerk. Ratan Rathor keeps his eye upon his career despised by his father as bourgeois filth. He leaves the inn as soon as he gets the job to settle somewhere and tries to keep himself away even from the stenographer who had been instrumental in securing a job for him. He works hard to please his superintendent. In very short time of six months, on the recommendation of the superintendent, he gets confirmation in the service on his assurance that he would marry the superintendent’s niece. Henceforth he never looks back and on the superintendent’s retirement he gets this most coveted post which brings him every comfort in his life. With the accumulation of riches, Ratan rather gets engulfed in the vices associated with wealth such as taste for wine and woman. In Bombay he once gets engrossed in ‘fantasies of pleasure.’

There is nothing unethical about the fact that the son of the freedom fighter runs after a bureaucratic career. But it is highly illegal, unethical and unscrupulous that he should get corrupt and act against the national interest. During the time of the nation’s adversity, he is not only one to gain prosperity by clearing sub-standard war materials supplied by the Sheikh Himmat Singh, being used in Indo-China war without caring for the lives of innocent people. The gravity of the offence committed by Ratan Rathor is surely more intense than the solution of polishing the shoes in front of the temple. Ratan rather forms a view that a successful career cannot be achieved through diligence and sincerity, but be realized through flattery and cunning. So he deceives his very close friend by giving a false statement without admitting his crime. Ultimately, the Brigadier commits suicide. Similarly, Ratan plays havoc with many who are sacrificing their lives for the nation’s cause. Ratan deceives Himmat Singh, a contractor holding him responsible for the supply of defective materials, but the words of Himmat Singh exposing the character of Ratan Rathor are soul-searching when he comments: “You are bogus, Ratan Rathor…. from to bottom. Your work, your religion, your friendship, your honour nothing but a pile of dung”.

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Polonius’ advice to his son (Hamlet (Act I Scene III) – William Shakespeare

Polonius’ advice to his son (Hamlet (Act I Scene III) – William Shakespeare

This is a well known passage from Shakespeare’s tragic play Hamlet (Act I Scene III). Polonius is one f the characters of the play. He is the King Claudius’s chief counselor and the father of Ophelia and Laertes. Polonius’ son Laertes studies at Sorborne University, Paris. He had come to his native place Elsinore, Denmark to attend the coronation of King Claudius after the death of senior Hamlet.  This passage is full of worldly advice is given by Polonius to his son Laertes at the time of his departure to Paris by ship.
 
In Hamlet, the Scene opens with the conversation between Laertes and Ophelia, Children of Polonius. By watching his children talking to each other, Polonius angrily blames Laertes for the delay and informs him that his ship is waiting for him in the harbor.

According to Polonius, every man should have a very good conduct or character. According to him “if a man’s character is lost, everything is lost in his life”. So, he tells his son that he should have a virtuous character which is praiseworthy in the society. Laertes is advised to be dignified and think twice before he talks or express his thoughts in public. He is guided to keep his personal thoughts to himself. He is also asked to be calm and have patience in the case of wild and unproportioned thought. In other words he should be very careful and conscious in thinking, talking and acting.

Polonius advises his son to be dignified and good with his friends but not to be mean or stubborn. He is cautioned to select his friends after some deliberations. A trustworthy and faithful friend should be shielded with love and affection and he should not let him go. Laertes is also advised not to be very lavish in his habits and should not spend money unnecessarily on new friends. On the whole Polonius advised his son to attract friends only with his virtuous character not with money.

Polonius guides his son not to enter into quarrel for silly reasons. If he once involves himself, he should defined himself totally. Laertes should warn the opponent to be cautious of him. Laertes should listen to the elders and take suggestion from all but should take his own decision. Hereby he says that decision should not make according to the person but persona. Laertes is asked to develop good habits based on his financial status. Since he is the son of a rich person he should dress up very richly and with dignity as our presentation in public often potrays our personality. He should dress like a son of rich person but not in an odd manner as France is a land of culture and history where Laertes lives… 

Polonius’ most famous lines “neither a borrower nor a lender be: for loan oft loses both itself and friend”  is well known aphorism in English language. Friends become foes in the matter of monetary matters. Money related issues often make us to lose our friends. But Polonius at the end of his speech advices Laertes “This above all to true thine own self be true”. “Honesty is the best policy.” One should keep honesty and should be true to his own self. Character is very important in everyone’s life. This policy one must maintain throughout his life. Such a man will win the heart of every one. Finally polonius bids farewell to his son and blesses him. Laertes takes leave along with his father’s advice.


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An Old Man - Rev. Ronald Stuart Thomas


Rev. Ronald Stuart Thomas’ poem ‘An Old Man’ is one of the shortest and beautiful poems of his imagination but it is the best of its kind. His poems are remarkably honest, realistic and sometimes very severe in suggestion. As a parson R. S. Thomas is successful in this poem in bringing out the true difficulties of ‘the old age’ and exerting the public sympathy towards old people.

The poem ‘An Old Man’ deals with the subject of approaching old age and its difficulties. As the body decays and imminent death draws near, the old man falters on the path of life and slowly succumbs to the ravages that life had wrought on him. Metaphorically, the season ‘winter’ is taken to represent the time of ‘old age’ and the poet requests ‘the winter’ to be kind enough towards old men so that the severity of old age and death are allayed. The image of the bridge that winter is asked to build presents the picture of man’s life as a journey across the bridge of death to the world beyond.

The poet asks us with a great concern to look at an old man reverentially who is trying with slow foot on the wet road muffled with smoke. The old age, the last stage of the life, is compared to winter as the last season of the year. The old man is seen in this poem, walking slowly on the dangerous slippery icy roads. The winter time is described as treacherous like the crust of ice on roads, lakes or rivers. The icy roads are slippery and on lakes or rivers the ice may break when stepped on letting the man fall into the icy water below. As a person becomes old, the world becomes a dangerous place for him so he has to tread carefully (live carefully). The tears on his cheeks resembling as the last glitters on the bare branches of a tree whose foliage ravished in the long storm. He asks the winter to build a bridge with its cold hands to walk slowly and confidently across the deep depths like difficulties of his life to meet his Death. The poem concludes with great revelation that all people on this earth are shaped with a hard hammer of ‘Pain’ on the anvil of the ‘Time’ under the Sun subjected to endure the difficulties of old age. 

Monday, December 06, 2010

Stopping by Woods on a Snowy Evening - Robert Frost


Stopping by Woods on a Snowy Evening - Robert Frost



Whose woods these are I think I know.
His house is in the village though;
He will not see me stopping here
To watch his woods fill up with snow.

My little horse must think it queer
To stop without a farmhouse near
Between the woods and frozen lake
The darkest evening of the year.

He gives his harness bells a shake
To ask if there is some mistake.
The only other sound's the sweep
Of easy wind and downy flake.

The woods are lovely, dark and deep.
But I have promises to keep,
And miles to go before I sleep,
And miles to go before I sleep.

Robert Frost, the famous American poet was born on 26 March 1874 in San Francisco. He attended several schools, but never got a degree, though sixteen honorary degrees were conferred on him in subsequent years. He was in turn teacher, cobbler, editor and finally farmer for eleven years. In 1912 he went to England where he met Rupert Brooke. In 1915 he returned to the United States and became Professor of Poetry at Harvard. He received many academic awards of world fame and in the end was made America’s national poet. He died on 29 January 1963.

Stopping by Woods on a Snowy Evening is one of the most quietly moving of Frost's lyrics. The lyric says William O' Conner "like Milton's sonnet On His Blindness and Mathew Arnold's Dover Beach, seems to have established itself permanently in anthologies and text books of poetry. It is one of Frost's best poems, and we might discover, if we had the means, that it is one of the best known poems of the Twentieth Century".  It was this lyric which touched the heart of Pt. Jawahar Lal Nehru, one of the greatest men of the world, and devoted servant of humanity.

The poem, Stopping by Woods on a Snowy Evening, is an expression of joy which the felt as stood watching a familiar sight on a winter evening. A commonplace scene of snowfall inspired Robert Frost to write some memorable lines in recent English poetry. It is worth mentioning that the last stanza of this small poem was noted down by Jawaherlal Nehru in his diary only one month before his death.  

         “The woods are lovely, dark and deep,
 But I have promises to keep,
 And miles to go before I sleep,
 And miles to go before I sleep.”  


As he sits in his horse driven carriage gazing into the soft, silent whiteness, he is tempted to say on and on, allowing his mind to lose itself in the charming woods. John Lymen rightly said “His consciousness seems to the verge of freeing itself from ordinary life, as it were about dissolve in the blank but his mind holds back from this. He remembers that his journey has a purpose. He has promises to keep and many miles to go before can yield to the dreamlike release which the woods seem to offer.” This is the core of the poem, a moving personal experience, exquisitely rendered.  The poem is not just a record of something that once happened to the poet; it points outward area of experience. It expresses the conflict, which everyone has felt, between the demands of practical life with its obligations to others.





Friday, December 03, 2010

On His Blindness - John Milton


On His Blindness - John Milton


When I consider how my light is spent
Ere half my days, in this dark world and wide,
And that one talent, which is death to hide,
Lodged with me useless, though my soul more bent
To serve therewith my Maker, and present
My true account, lest He, returning chide,
‘Doth God exact day-labour, light denied?’
I fondly ask: but Patience, to prevent
That murmur, soon replies: – ‘God doth not need
Either man’s work, or His own gifts; who best
Bear His mild yoke, they serve Him best: His state
Is kingly; thousands at His bidding speed,
And post o’er land and ocean without rest:
They also serve who only stand and wait’.


John Milton, the poet who wrote the greatest epic in English, was born on 9 December 1608 in London, educated at St. Paul’s School and Christ’s college, Cambridge. Milton took his B.A. degree in 1629 and M.A. in 1632. He was an exceptional scholar, at ease in English, Hebrew, Latin and Italian. In his youth, His remarkable looks and refined manner led to his being called ‘the lady of Christ’s’. He got involved in the controversies of the time and wrote a number of pamphlets. He defended the execution of Charles I and was appointed Lain Secretary to Oliver Cromwell, a post which he held till the Restoration. After the restoration of monarchy in 1660, Milton retired from politics and devoted himself entirely to poetry. He died on 10 November 1674.


The following are his famous poems: Ode on the Morning of Christ’s Nativity, Comus, Lycidas, Paradise Lost, Paradise Regained and Samson Agonistes.

Notes:
On His Blindness is packed with biblical allusions. In this short poem or just fourteen lines there are not less than five references to scriptural passages. Milton’s familiarity with the Bible caused it to be the main source of inspiration for many of his poems.

talent: Poetic genius.
(There is a reference to the parable given in St.Matthew’s gospel Ch.XXV, verses 14-30)

(lines 3 to 6) The servant of the parable did not make use of the talent (money) given to him by his master and was on that account, scolded by the master. Milton is afraid that he too may be taken to task by his divine Master for not making full use of his inborn or God-given talent for poetry. Instead of devoting his full attention to poetry he was engaged in writing prose pamphlets on controversial subjects.

day labour: reference to the parable of labourers in St.Matthew’s gospel Ch. XX verses 1-15
fondly: foolishly
prevent: anticipate
mild yoke: ‘yoke’ literally means, piece of wood palced across the necks of oxen pulling a cart or plough. Here it means ‘burden of difficulty’ in life. Again there is a reference to St. Matthew, Ch. XI verses 29-30. ‘Learn from me; I am gentle and humble of heart; and you shall find rest for your souls. For my yoke is easy and my burden is light’.
thousands: old Testament, Prophecy of Daniel Ch. VII verses 9-11. While giving an account of the vision he had, the prophet speaks of the greatness of God the supreme judge: ‘A thousand thousand they were that waited on his bidding, and for every one of these, a thousand others were standing there before him’.
Post: travel with speed.
Stand and wait: St. Luke Ch. I verses 19. ‘I am Gabriel, that stand in the presence of God; and am sent to speak unto him’.

Summery:

By forty-five Milton was completely blind while yet in the service of Cromwell. As he had not fulfilled his ambition in life, to write a great poem which posterity would not willingly let die, he felt the loss of his eyesight very much and gave expression to his grief on several occasions. ‘On His Blindness’ is the first expression of this intensely felt loss.

Becoming blind at the age of forty-five Milton feels unhappy about the way he has spent that best part of his life. He is especially sorry for having failed to make proper use of his inborn poetic talent. He thinks his conduct is similar to that of the servant who preserved (unused) the money given to him by his master. The servant was scolded by the master for his laziness. Milton is afraid that he too may be taken to task for his failure to serve God my making use of his talent. Patience reminds him that God is not in need of man’s service. Those who endure their small difficulties, without making complaints, are the people who serve God best. God is like a king who has many servants. Some of the servants will be moving about to carry out the king’s orders; but some others will be standing by his side ready to obey him at any moment. Those who stand and wait for orders are also serving the king.

Introduction

‘On His Blindness’ is the most famous of Milton’s sonnets. This is the first expression of the poet’s sorrow over the loss of his eyesight. It was written when he became completely blind at the age of forty-five.

Milton’s feelings of guilt

Be coming blind at an early age, Milton is very unhappy about the fact that he has wasted the best part of his life without producing any creative work of importance. He feels especially sorry for having failed to make proper use of his poetic genius. He thinks his guilt is similar to that of the servant who kept unused the money to him by the master. The master scolded the servant for neglecting to do his duty. The poet is afraid that he too may be taken to task by God for his dereliction of duty. In a bitter mood Milton is inclined to think of God as a hard task master.

His consolation

Soon he overcomes this mood of bitterness and is able to think of God in a more sober way.   God is not in need of man’s services. He is like a king who has many servants at his disposal. Some of the will be moving about to carry out he king’s orders; but some others will be standing by his side, always ready to obey him. Those who stand and wait for orders are also serving the king.

Remarks on the poem

The poem begins in a mood of bitterness, but it ends in a mood of reconciliation and consolation. What really lends beauty to the poem is the frequent reference to some of the beautiful biblical passages. There are not less than five biblical allusions in this small poem of fourteen lines: but the most appropriate one is the reference to the parable of the talent.

Conclusion

Thus, in conclusion, it may be said that the poem reveals the moral earnestness of the poet and his familiarity with Bible.
*****

Friday, June 25, 2010

CONVERSATION PRACTICE


COMPLETE THE FOLLOWING DIALOGUE

Nina: Rani, are you free this evening?
Rani: .........
Nina: Will you come with me for shopping?
Rani: ........
Nina: So nice of you. Thank you. What time shall I come to pick you up?
Rani: ........
Nina: That's O.K. So see you at four.

_________

FILL THESE FOLLOWING IN THE BLANKS

Nina: ........
Rani: Yes, I am.
Nina: ........
Rani: Yes, of course I will.
Nina: .........
Rani: 4 O' Clock.
Nina: .......

_________

Exercise - 2
Sekhar: Rekha, when is your mid-term test?
Rekha: ..........
Sekhar: Oh, that means only two more days?
Rekha: ..........
Sekhar: Have you revised all your lessons?
Rekha: ..........
Sekhar: That's fine. Are you confident of topping the class?
Rekha: ..........
Sekhar: That's good.
______
Sekhar: ...........
Rekha: Day after/Monday.
Sekhar: ............
Rekha: Yes.
Sekhar: ............
Rekha: Yes, I have.
Sekhar: .............
Rekha: Yes, I am.
Sekhar: ............
_______

____mastanappa puletipalli

Thursday, June 24, 2010

AN INDIAN APPROACH TO KEATS


The most important theory in ancient aesthetics is the Rasa-dhavani theory developed by Anandavardhana and Abinavagupta on the basis of Bharata's formula. "Vibhava anubhava vyabhichari samyogad rasa nishpatthi" (Aesthetic pleasure results from a combination of Vibhvas or determinants towards which an emotion is manifested, anubhavas or physical effects resulting from an emotion, and vyabhicharibhavas or tranistory mental states that help to intensify the dominant emotion) Rasa is also that mysterious power lying hidden within us, may be the immanent supreme spirit, which can lift us up to higher levels of experience and enjoyment and transmute our natural emotions into poetic emotions or rasas. These rasas are nine in number: 1. Sringara (eroticlove), 2. Hasya (humour), 3. Karuna (Pathos), 4. Raudra (anger), 5. Veera (valour spirited action), 6. Bhayanaka (fear), 7. Bhibhatsa (revulsion or horror), 8. Adbhuta (wonder) and 9. Santa (equilibrium and tranquility)


According to Annadavardhana, suggestion is the soul of literature (Kavyasyatma dhvanih)and that rasa is realized through Dhvani or suggestion.


In Keats's Ode to a Nightingale, the song of the bird is the vibhava while the joy, the sad thoughts, the aching pleasure, and the telling images suggested by the song constitute the anubhavas. Assisted by the transitory mental states like pain ("my heart aches" etc.), yearning and nostalgia ("O for a drought of vintage" etc.), they produce Karuna rasa ably supported by Adbhuta rasa that a bird could transcend the world of woes and that its song should have the power to lift the hearer up and fill his heart with a joy of an Alaukika or super mundane nature.


It is intersting to observe Karuna building up through a series of transitory mental states an through dhavni, the third of the three-tier appreciation in Sanskrit aesthetics viz. Vachyartha (the denoted meaning at the primary level), Lakshyartha (the connoted meaning at athe secondary level), Vyangyartha (the suggested meaning at the tertiary level).


At the tertiary level, even if we are not acquainted with the allusions to western lore and literature, we can still relate the situation to our own culture and literature e.g. the reference to emperor and clown can be interpreted in terms of Dushyanta and Vidushaka or any king and his court-jester in a garden or a forest; the allusion to Ruth amid alien corn puts us in mind of Chandramati, wife of Harichandra, working as a slaveon alien soil or Draupadi in King Viraata's palace; and the allusion to the casements could be related to Sita held captive in Lanka, situated in the middle of perilous seas in a fairy land.


The Ode is a plaintive anthem, with the words 'forlorn' and 'farewell' ringing in our ears --- a requiem on the human condition at the level of suggestion.


Karuna marks La Belle Dame Sans Merci. Ode on a Grecian Urn shows how Karuna may be sublimated into Beauty, Joy,and Truth leading to Santa; so does Ode to Psyche.


In Ode to Autumn, through the beautiful images in the first three stanzas and the suggestion of music in the lesser creatures of nature, not generally associated with music, like the small gnats, lambs, hedge-crickets, red-breasts, and swallows, Keats evokes Santa rasa.


There is Sringara supported by Veera in Eve of St. Agnes. Sringara followed by Karuna and Bibhatsa in Isabella, and Adbhuta in On First Looking at Chapman's Homer.


This is a brief sampling of how the Rasa-Dhvani theory can be applied to any work of literature by taking Keats, one of the best poets of the West.


___mastanappa puletipalli

Tuesday, June 15, 2010

LEPAKSHI: ART AND ARCHITECTURAL HERITAGE


Sthalapurana


Lepakshi got its name from ages of Ramayana. In Telugu Le-Pakshi, 'Le' means getup and 'pakshi' means bird. 'Get up O! Bird'. While Sri Rama along with his bother Sri Lakshmana was searching for his beloved wife, Sri Sita in Dandakaryana, he found a huge bird lying with its severed wings. The bird told him that Sri Sita had been taken away by Ravana along with him. He told to Rama that he had fought with him to get Sri Sita back from him. But I was helpless he severed my both wings with his sword. I could not fly any more. Hence Sri Rama took him into his hands and blessed him with salvation by sayng Le-pakshi. Then Sri Rama crimated the physical remains of the bird at Lepakshi. From then onwards the place is called 'Lepakshi'

The kings of Vijayanagara Empire predominantly Sri Krishnadevaraya had the porfound taste of Literature, Art and Architecture. It was (15th century AD) the golden age of fine arts and their invaluable patronage for sculpture and paintings are still memorable with transcendental feasibility of archaic.

History Behind the temple:

Lepakshi, stood as monument of the past golden age with chiseled perfection of sculptor's imagination. The sculpture and paintings of Lepakashi throw much light on traditional and cultural walk of life of Telugu people in 15th Century. When Achiutaraya, younger brother of Krishnadevaraya was on the throne of Vijayanagaram (Hampi) Verupanna was his minister and treasurer. He was sent to Penukonda (Second Capital and Summer Camp for Vijayanagar Empire 45 K.m. off from here) on Royal Duty to carry out dealings with their subjects. Verupanna took interest to build this temple with spurred artisan-ship of Jakkanna and Hampanna. Verupanna spent whole revenue without prior permission of the king. He was punished for miss utilization of Royal Treasure, by blinding him in the temple. Accordingly the sagacious and virtuous minister, a man of self-respect plucked his eyeballs himself before Verrabadhra Swamy (his favourite God) and threw them on to the walls of the temple near Kalyana Mantapam, still there is mystic evidence upon the walls with bloodstains of those eyes.


Sculpture and paintings in Lepakshi, architecture in Penukonda and Gorantla flourished and mirroring the culture and traditional heritage of temples in Anantapur District, Andhra Pradesh.

Religious concurrence:

Lepakshi is rare temple of prodigious connotation on religious understanding between two major rivalries viz., Shivas and Vishnavas. Hari (Vishnu) and Hara (Shiva) were installed in the same shrine. There are number of evidences in Lepakashi in relics of the ruins.

Mysteries:

The footprint on granite formation never dries even in summer and chronic drought. The footprint that was imprinted by Sri Hanuman, when he hurried to bring Mrutha Sanjeevini ( a mountain with abundance of medicinal herbs) while Lakshmana (brother of Sri Rama) lay unconscious in the battle of epic Ramayana.

A hanging pillar is a token of great achievement in architectural skill in the superstructures of Natya Mantapam in the midst of the temple.

There is evidence of bloodstains on the walls in the front view of the Kalyana Mantapam is verisimilitude. Verupanna, who plucked his eyes himself on a blame of miss utilization of Royal Treasure on the walls with bloodstains, is still in the front view of the Kalyana Mantapam.

Myths:

And many other notable legendary epitomes in sculpture and paintings are available in the temple to show the glory of the past age.

1. Shiva: came to his devotee to test her in a disguise as a beggar. The dwarf came when she was in bathroom. But the woman with renewed belief came out to give alms to the dwarf without her knowledge of garments. Then Shiva please with her attention towards the needy and the woman was given salvation.

2. Vishwabrammha: There is belief that Vishwabrammha gave Vedas (Scriptures) with his four heads. He is the creator according to Hindu Mythology.

3. Durga: The original Mother of the Universe

4. Chandra: The Moon

5. Nandi: The Bull, The sacred animal, the Indian primarily depends upon bulls in agriculture moreover the is the travelling medium (vahana) to Shiva.

6. Nataraj: The original cosmic dancer of Hindu mythology. He, who preserves virtue and destroy vice.

7. Vyuvu: The God of Air. Very essential element for life

8. Agni: The God of Fire.

And many other gods are seen in the sculpture of Lepakshi built on the hill Kurmasila throws much light on Indian mysteries, Mythology and Spiritual solace and heritage.

adieu.


____mastanappa puletipalli

HEART OF DARKNESS -- JOSEPH CONRAD


Joseph Conrad emerged at the turn of the 20th Century as a distinct practitioner and the pioneer of the experimental modern novel. The tradition of telling a story relatively straightforward way by an omniscient narrator had made the genre popular and easily accessible. Conrad employs a narrative technique, which involves narration within narration. We have an unidentified narrator talking about an urbane seasoned English sailor of the merchant marine, Marlow recalls his profoundly disturbing experience in the Congo as a young Captain in the service of a Belgian Trading Company. He is Conrad's chief fascinating narrative voice in this novel and his other stories also.

Marlow recalls his experience to his listeners on the cruising yawl Nellie in the evening on Thames estuary in London. They are amateur yacht-men comprising the director of Companies, the Lawyer and the Accountant, all of whom may be identified as Pillars of Capitalism. The narration of the events is kept in relatively chronological sequence. Marlow finds a job with the help of his aunt with a trading company whose head office is located in one of the European cities i.e., in Brussels.

He travels to the Dark Continent to command a company's steamer in the place of Fresleven, a Dane, who was murdered by the native Africans. His job is to take the company officials from Central Station to the Inner Station to bring back Kurtz, the Chief of the Inner Station who is said to gravely ill. It takes some weeks for Marrlow to get the steamer repaired during that time he understands that Kurtz came from Europe as an Apostle of Progress and became the most successful agent in procuring maximum quantity of superior ivory. Hence he was tipped for promotion by the headquarters in Europe. He is naturally envied and resented by the manager of the Central Station. Marlow understands on his way from the coast to central station that the programme of civilizing Africa has been a farce. The trade has been virtually a euphemism for plunder.

During the travel on the winding snake-like, hedged on both sides by virgin forests, so thick and dark from where come sounds incomprehensible. Marlow, who was already demoralized is mystified and menaced. To his horror he witnesses the cruel treatment of the natives by the white Europeans often using the Negroes themselves as their supervisors, besides the purposeless destruction of the landscape. Ivory becomes to symbolize the arrant materialism of the white imperialists masquerading as promoters of philanthropy and enlightenment. Marlow is thoroughly disgusted and disillusioned with his whole race.While nearing the Inner Station there is a sudden attack from the savages concealed in the thick vegetation on the shore. His black helmsman is killed. And then meeting with a Russian freelance trader in the Inner Station he learns from him that he was taken care of Kurtz during his illness.

The attack on the steamer had been made at the instance of Kurtz because Kurtz did not want to be taken home. Kurtz has been virtually ruling over the savage cannibal tribes as their chief. Kurtz has also partaken of their rites and rituals which perhaps (include) eating human flesh. To his moral shock Marlow also learns that this demigod authority that Kurtz has wielded also expressed itself often in ruthless raids on villages and hamlets for plundering their ivory. Ivory euphemistically called fossil because the natives conceal it in earth for the fear of being looted. But it cannot be escaped by the savage onslaught of Kurtz and his bloodthirsty subjects.

Marlow not only meets Kurtz who is near to death but also sees that native woman who has been his mistress in the recess of the jungle. She and her tribesmen are against Kurtz being taken away to his home country. But Marlow manages to bring him on board, after an appalling experience of watching Kurtz crawl in his feeble state towards the jungle, responding to the call of the drums and ritual dance. Kurtz dies on the way, whispering The horror! The horror! Marlow himself falls ill on his return to the headquarters. There he meets the girl whom Kurtz intended to marry. She has an idealized image of her lover as an Emissary of Progress and is in deep grief.

It is almost a year and more since Kurtz passed away and Marlow cannot get over his revulsion at and disenchantment with the doctrines of civilization. However he feels compelled to held back the truth about Kurtz from his lover - that he was an apostle of appetite, he was gone native, that he was the arch-priest of the devil rapacity. He was in one sense no better than a criminal. Marlow lies to the raptly listening young lady that the last words the Kurtz uttered her own name. The story comes to the present with Marlow and listeners lost in sombre silence and anonymous narrator confesses to a feeling of being led"in to the heart of an immense darkness".

___mastanappa puletipalli

ODYSSEUS - Summary

  ODYSSEUS   Summary    Odysseus, lord of the isle of Ithaca, has been missing from his kingdom for twenty years. The first ten had been spe...